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Bel  ween  the  Wars 


Women  Artists  of  the  Whitney 
Studio  Club  and  Museum 


September  12-November  12, 1997 


Whitney  Museum  of  Ameriean  Art  at  Champion 


Frenzied  Effort  (The  Whitney  Studio  Club),  1925.  drypc 


Between  the  Wars 


Women  Artists  of  the  Whitney 
Studio  Club  and  Museum 


David  U.  Kichl 


In  a  1917  diary  entry,  Gertrude  Vanderbilt  Whitney  noted:  "1  have  often 
asked  artists  and  students  where  they  went  when  they  were  not  work- 
ing, what  they  did  in  the  evenings  and  what  library  they  used.  The 
answers  opened  up  a  vista  of  dreariness  which  appalled  me,  revealing  a  terri- 
ble lack  in  our  city's  capacities."'  Her  response  was  to  found  the  Whitney 
Studio  Club  in  1918  at  147  West  4th  Street  with  a  library  and  recreational 
spaces,  rooms  for  exhibitions,  and  a  program  of  support  that  included  evening 
sketching  classes  from  live  models  as  well  as  a  series  of  annual  exhibitions 
open  to  all  members  of  the  Club.  The  success  of  the  Studio  Club  culminated 
in  Mrs.  Whitney's  decision  to  establish  the  Whitney  Museum  of  American 
Art,  which  opened  in  1931  with  a  collection  of  paintings,  sculptures,  drawings, 
and  prints  she  had  purchased  from  Studio  Club  members  and  other  contem- 
porary American  artists.  The  Museum  continued  the  Studio  Club  tradition  of 
single-artist  and  group  shows  as  well  as  the  Annual  and  Biennial  Exhibitions 
of  contemporary  American  art  that  are  an  essential  part  of  its  ongoing  support 
of  American  artists.  Through  a  selection  of  prints  and  drawings  by  women 
artists  associated  with  the  Studio  Club  or  exhibited  at  the  Whitney  Museum, 
"Between  the  Wars"  renews  an  appreciation  of  the  vital  role  these  two  insti- 
tutions have  had  in  the  developing  heritage  of  American  art  in  this  century. 

Dorothy  Varian,  who  was  attending  the  Art  Students  League  in 
1918,  was  among  the  early  members  of  the  newly  opened  Studio  Club,  and 
she  appreciated  the  amenities  Mrs.  Whitney  thought  essential  for  the  well- 
being  of  artists.  Working  in  a  "wretched  little  studio"  during  the  hot  summer, 
she  spent  part  of  each  day  at  the  Club,  where  she  "had  art  books  to  read,  the 
fans  were  going,  and  an  attendant  brought  me  glasses  of  ice-cold  ginger  ale.  It 
was  wonderful! ""  The  membership  of  the  Studio  Club  grew  to  almost  five 
hundred,  more  than  two  hundred  of  whom  were  women  by  the  time  the 
Club  closed  in  1928.  Varian  was  typical:  young  and  not  firmly  established  in 


Wanda  Gag,  Stone  Crusher,  1929,  lithograph 


her  career,  she  studied  with  John  Sloan  at  the 
League  and  could  therefore  be  counted 
among  the  progressive  artists  challenging  the 
strictures  associated  with  the  National 
Academy  of  Design. 

Conviviality  was  only  one  of  the 
benefits  of  the  Club.  Through  the  able  organizational  efforts  of  Juliana  Force, 
director  of  the  Club  and,  later,  the  first  director  of  the  newly  established 
Museum,  Mrs.  Whitney  addressed  the  professional  needs  of  artists.  One  of 
the  earliest  activities  instituted  by  Mrs.  Force  for  Club  members  was  an 
evening  session  of  life  drawing  from  live  models  for  a  minimal  fee.  Life  draw- 
ing was  an  important  aspect  of  contemporary  art  education,  but  most  artists, 
once  they  left  school,  could  not  afford  the  cost  of  private  modeling  sessions. 
The  Club's  sessions,  therefore,  were  a  boon  for  many  members.  These  crowd- 
ed evenings  were  recorded  in  two  well-known  prints  by  Club  members: 
Peggy  Bacon's  Frenzied  Effort  (The  Whitney  Studio  Club)  and  Mabel 
Dwight's  Life  Class. 

Of  even  greater  importance  were  the  annual,  non-juried  exhibitions 
open  to  members  of  the  Club.  As  Gertrude  Vanderbilt  Whitney  and  Juliana 
Force  both  realized,  exhibition  opportunities  were  extremely  important  for  an 
artist's  professional  development.  Exhibitions  provided  a  forum  for  critical 
dialogue  as  well  as  the  chance  for  the  sale  of  work— whether  painting,  sculp- 
ture, drawings,  watercolors,  or  prints.  During  the  interwar  period,  the  oppor- 
tunities American  artists  had  for  exhibiting  work  in  commercial  galleries  were 
limited,  though  improving.  The  New  York  galleries  showed  only  the  work  of 
well-established  artists  and  members  of  the  Academy  and  were  often  unwill- 
ing to  promote  the  challenging  subject  matter  and  styles  favored  by  the 
younger  generation. 


Peggy  Bacon,  Blessed  Damozel,  1925,  graphite 


The  opportunities  for  gallery  represen- 
tation were  even  more  restricted  for  women 
artists  from  this  younger  generation  during 
these  two  decades.  Alfred  Stieglitz,  the  cham- 
pion of  the  most  important  contemporary 
American  artists  of  the  day,  included  only  one 
woman,  Georgia  O'Keeffe,  in  his  gallery's  sta- 
ble. Between  1913  and  1932,  the  Daniel  Gallery 
had  actively  mounted  exhibitions  by  younger 
American  artists,  fifteen  of  them  women, 
including  Elsie  Driggs,  Rosella  Hartman, 
Katherine  Schmidt,  and  Marguerite  Zorach. 
When  the  gallery  closed,  only  a  few  of  the 
women  artists  found  other  representation: 
Driggs,  Schmidt,  and  Zorach  were  taken  on  by 
Edith  Halpert's  Downtown  Gallery.  In 
Halpert's  roster  of  sixty-four  artists  there  were  nine  women,  eight  of  whom 
were  given  one-artist  exhibitions.  But  with  the  exception  of  Georgia 
O'Keeffe,  Halpert  was  more  active  in  the  support  and  promotion  of  the  male 
artists  on  her  roster.4  Only  the  Weyhe  Gallery  consistently  presented  oppor- 
tunities for  women  artists,  with  an  active  program  of  small  shows  featuring 
drawings,  prints,  and  sculpture. 

The  annual,  non-juried  exhibitions  of  Studio  Club  members'  work 
were  equally  important  for  women  artists,  as  were  those  of  the  Society  of 
Independent  Artists,  established  in  1916.  The  large  and  popular  annual 
exhibitions  of  the  National  Academy  of  Design  and  other  such  professional 
organizations  were  juried  by  committees  drawn  from  their  conservative 
membership,  which  resisted  newer  modes  and  styles  of  artistic  expression. 


Lucile  Blanch,  Circus  Angels,  1928,  charcoal,  ink,  and  pastel 


And  as  the  memberships 
of  these  professional 
organizations  were  pre- 
dominantly male,  the 
work  shown  in  these 
"official"  exhibitions  was 
largely  by  male  artists.  Submissions  for  the  Society's  annuals,  many  from 
women  artists,  came  from  across  the  United  States.  Like  the  Society, 
the  Studio  Club  annual  membership  exhibitions  provided  an  unrestricted 
opportunity  to  exhibit,  to  be  mentioned  in  a  published  review,  and 
potentially  to  sell.  Through  Juliana  Force,  Mrs.  Whitney  purchased  the  work 
of  members  at  the  annual  exhibitions— a  practice  that  continued 
with  the  new  Museum's  Biennial  and  Annual  Exhibitions.  A  number  of  the 
prints  and  drawings  in  "Between  the  Wars"  entered  the  Museum's  collection 
in  this  manner. 

In  her  efforts  to  promote  sales  of  affordable  works  of  art,  Juliana 
Force  encouraged  the  Club's  members  to  create  prints,  drawings,  and  water- 
colors  that  could  be  purchased  for  a  fraction  of  the  price  of  an  oil  painting  or 
sculpture.  Most  of  the  submissions  to  the  Club  Annual  Exhibitions  were 
available  for  purchase  and  less  expensive  works  were  also  on  sale  at  the 
Whitney  Studio  Galleries  shop.  Works  of  art  on  paper  by  Club  members 
could  also  be  purchased  at  several  of  the  newer  galleries  established  in  the 
1920s.  Each  December,  Edith  Halpert  mounted  an  exhibition  organized  by  a 
loosely  affiliated  group  known  as  American  Print  Makers  in  her  Downtown 
Gallery.  Peggy  Bacon,  Mabel  Dwight,  Isabel  Bishop,  and  other  Club  mem- 
bers were  actively  involved  with  this  group.  At  the  Weyhe  Gallery,  Erhard 
Weyhe  and  Carl  Zigrosser  mounted  exhibitions  by  this  younger  generation, 
circulated  exhibitions  to  other  American  cities,  and  issued  priced  catalogues 


Many  of  the  prints  and  drawings 
included  in  "Between  the  Wars" 
were  part  of  the  Museum's  founding 
collection,  assembled  by  Gertrude 
Yanderbilt  Whitney  and  Juliana 
Force.  Others  were  purchased  from 
the  Biennials  and  Annuals  of 
the  1930s.  Subsequent  purchases 
and  bequests  from  former  members, 
such  as  Katherine  Schmidt, 
Doris  Rosenthal,  and  Felicia  Meyer 
Marsh,  have  enriched  the 
Museum's  holdings  of  women  artists. 
This  present  selection  of  prints 
and  drawings  by  women  artists  is 
particularly  indebted  to  the  gracious 
generosity  of  Leonard  and 
Evelyn  Lauder  and  The  Lauder 
Foundation,  which  supported 
the  1996  acquisition  of  over 
three  hundred  prints,  including 
a  substantial  number  by  Caroline 
Durieux,  Mabel  Dwight,  Wanda 
Gag,  and  Victoria  Hutson  Huntley. 

Notes 

1.  Avis  Berman,  Rebels  on  Eighth 
Street:  Juliana  Force  and  the  Whitney 
Museum  of  American  Art  (New  York: 
Atheneum,  1990),  p.  155. 

2.  Ibid.,  p.  158. 

3.  Diane  Tepfer,  "Edith  Gregor 
Halpert  and  The  Downtown  Gallery 
Downtown:  1926-1940;  A  Study  in 
American  Art  Patronage,"  Ph.D.  diss. 
(Ann  Arbor  University  of  Michigan, 
1989),  pp.  286-88. 

4.  Ibid.,  pp.  110-11. 

5.  Berman,  Rebels  on  Eighth  Street, 
pp.  135-36.  Gertrude  Vanderbilt 
Whitney  gave  the  Society  $1,500  to 
defray  the  expenses  of  the  first 
Annual  Exhibition,  which  opened  in 
April  1917. 


Mabel  Dwight,  Abstract 

Thinking,  1932,  lithograph 


to  promote  sales.  As  a  further  encouragement,  the  gallery  actively  published 
prints,  and  especially  lithographs,  by  American  artists,  including  Pamela 
Bianco,  Wanda  Gag,  Mabel  Dwight,  and  Victoria  Hutson  Huntley.  Prints  by 
these  women  are  considered  among  the  most  admired  examples  of  American 
graphic  art  from  the  interwar  period. 

The  selection  of  prints  and  drawings  by  women  artists  in  "Between 
the  Wars"  enables  us  to  look  anew  at  this  fertile  period  in  American  art  and  at 
the  role  played  by  the  Whitney  Studio  Club  and  Museum  in  advancing  a 
wide  range  of  cultural  and  artistic  dialogues.  Among  the  artists  represented 
we  find  the  early  modernist  Marguerite  Zorach;  the  new  realists  who  studied 
with  John  Sloan  and  Kenneth  Hayes  Miller  at  the  League,  among  them  Isabel 
Bishop,  Caroline  Speare  Rohland,  Katherine  Schmidt,  and  Lucile  Blanch; 
members  of  the  Precisionist  circle,  such  as  Elsie  Driggs,  Victoria  Hutson 
Huntley,  and  Virginia  Berresford;  the  Woodstock  and  Regionalist  traditions 
associated  with  Andree  Ruellan,  Dorothy  Varian,  and  Georgina  Klitgaard; 
Social  Realism  of  the  1930s  and  the  WPA  programs,  as  seen  in  the  works  of 
Barbara  Latham,  Ida  Abelman,  Mary  Fife,  and  Minna  Citron;  and  the  non- 
objective  abstraction  of  the  1930s,  exemplified  by  the  art  of  Alice  Trumbull 
Mason.  Finally,  that  insightful  penetration  and  representation  of  social  and 
personal  mores  most  commonly  associated  with  the  Studio  Club  can  be 
found  in  the  work  of  Peggy  Bacon  and  Mabel  Dwight,  who  rank  among  the 
greatest  American  delineators  of  human  personality  of  the  period. 


5 


Peggy  Bacon,  The  Social  Graces,  1935,  drypoint 


6 


Artist  Biographies 


Staee.y  Schmidt 


Peggy  Bacon,  Georgia  O'Keeffe,  1934,  charcoal 


Ida  Abelman 

Abelman  studied  at  the 
Grand  Central  Art  School, 
the  National  Academy  of 
Design,  and  Hunter  College. 
She  was  employed  in  the 
Graphics  Division  of  the 
Federal  Arts  Project,  for  which 
she  also  painted  at  least  one 
mural,  and  taught  lithography  in 
Sioux  City,  Iowa.  Many 
of  her  lithographs  are  mosaics 
of  images  drawn  from  her 
experiences  growing  up  in 
a  close-knit  family.  Her 
father  was  a  tailor  and  the 
distinctive  form  of  a  commer- 
cial sewing  machine  can  be 
found  in  many  of  her  prints. 
Abelman  silhouetted  her 
compositions  against  the  full 
sheet  of  paper,  imparting  an 
abstracted  strength  to  the 
lithographs  that  is  a  hallmark 
of  her  personal  style. 


Peggy  Bacon 

Peggy  Bacon,  a  Connecticut 
native,  was  born  in  1895. 
She  enrolled  in  the  New  York 
School  of  Applied  Design 
for  Women  in  1913,  and 
the  following  year  she  studied 
illustration  at  the  New  York 
School  of  Fine  and  Applied 
Arts.  From  1915  to  1920, 
she  attended  the  Art  Students 
League,  where  she  took  life 
drawing  with  Kenneth  Hayes 
Miller  and  John  Sloan  and 
portraiture  with  George 
Bellows.  Around  1917,  Bacon 
taught  herself  drypoint, 
the  first  in  a  wide  variety  of 
media  to  occupy  her  during 
her  prolific  career.  Ultimately, 
her  work  came  to  include 
lithography,  etching, 
pastel,  and  painting.  Although 
her  subject  matter  in  the 
late  teens  was  similar  to  that 
of  John  Sloan  and  George 
Bellows,  her  simple,  flat  forms 
closely  connect  her  with 
such  modernists  as  Marguerite 
Zorach  and  Max  Weber. 
Bacon  soon  distanced 
herself  from  these  hints 
of  modernism,  however,  and 
began  to  explore  the  territory 
where  realism  and  fantasy 
collide.  Although  active 
in  the  New  York  art  scene, 
she  spent  extended  periods  of 
time  in  the  art  colonics  of 
Provincetown,  Massachusetts, 


and  Woodstock,  New  York, 
where  she  thrived  in  the 
intellectualized  social  milieu  of 
artists,  playwrights,  writers, 
and  academics.  Bacon  met  her 
husband,  the  artist  Alexander 
Brook,  in  Woodstock.  In  1919, 
her  drypoints  were  included 
in  the  exhibitions  of  the  Society 
of  Independent  Artists  and  of 
the  Painter-Gravers  of 
America.  She  began  exhibiting 
prints  and  drawings  at  the 
Whitney  Studio  Club  in  1925 
and  continued  to  exhibit  in 
Whitney  Annuals  and 
Biennials  for  the  next  thirty 
years.  Between  1919  and 
1966,  she  illustrated  more  than 
sixty  books,  many  of  them 
for  children,  nineteen  of  which 
she  also  wrote.  Bacon  also 
produced  a  large  number  of 
portrait  studies  and  caricatures 
for  a  variety  of  publications, 
including  Vanity  Fair,  The 
New  Yorker,  and  the  New 
Masses.  She  is  perhaps  best 
remembered  for  her  excellent 
draftsmanship  and  her 
ability  to  communicate  wit 
and  humor  through  energized 
graphic  line. 


Virginia  Bcrresford 

Virginia  Berresford  was  born 
in  New  Rochelle,  New  York,  in 
1904  and  studied  at  Wellesley 
College,  Teachers  College 
at  Columbia  University,  and 
with  Amedee  Ozenfant  in 
Paris.  Her  Precisionist  studies 
of  factories  and  other  urban 
structures  from  the  early  1930s 
were  followed  by  abstracted, 
atmospheric  studies  of 
the  Massachusetts  shore. 
She  traveled  frequently,  and 
exhibited  in  the  Whitney 
Annuals  and  Biennials  from 
1933  to  1950. 


Pamela  Bianco 

Pamela  Bianco  was  born 
in  1906  in  London,  and  began 
showing  work  to  an 
appreciative  audience  at  an 
early  age.  Walter  de  la  Marc 
composed  the  poems 
to  accompany  an  early  suite 
of  her  drawings.  She  emigrated 
with  her  parents  to  the  United 
States  in  1921  and  had  her 
first  one-arlist  American 
exhibition  at  the  Anderson 
Galleries  in  the  fall  of  that  year; 
Gertrude  Vandcrbilt  Whitney 
lent  a  drawing  to  the  show 
and  also  bought  several  more. 
Bianco's  bold  images  of  flowers 
and  still-life  subjects  with 
strong  outlines  and  textural 
variations  were  popular. 
She  printed  her  first  lithographs 
with  George  Miller  in  1921. 
She  was  a  member  of  the 
Studio  Club  from  1924  to  1928. 


Isabel  Bishop 

Isabel  Bishop,  born  in 
Cincinnati  in  1902,  came  to 
New  York  to  study  illustration 
at  the  New  York  School  of 
Applied  Design  for  Women  in 
1918.  Three  years  later,  she 
transferred  to  the  Art  Students 
League,  where  she  was 


exposed  to  the  representational 
techniques  of  noted  instructor 
Kenneth  Hayes  Miller.  Leaving 
the  Art  Students  League  in 
1923,  she  rented  a  studio  near 
Union  Square  and  became  part 
of  a  loose  coterie  of  artists 
working  in  similar  themes 
and  style.  Among  these  were 
fellow  Miller  students, 
Reginald  Marsh  and  Raphael 
Soyer,  who,  like  Bishop, 
portrayed  anonymous 
Americans  going  about  their 
daily  routines  and  engaging  in 
simple  pastimes. 

Bishop  participated  in 
several  Whitney  Studio  Club 
exhibitions  in  the  early 
twenties,  and  had  her  first  one- 
artist  show  at  the  Midtown 
Galleries  in  1933.  After  her 
marriage  in  1934  to  Dr.  Harold 
Wolff,  she  moved  to  Riverdale, 
in  the  northern  part  of  the 
city,  and  for  the  next  forty 
years  commuted  every  day  to 
lur  studio  on  Union  Square. 
Bishop  took  a  particular 
interest  in  portraying  the 
working  woman,  especially  the 
clerical  staffs  of  the  banks, 
public  utilities,  and  insurance 
companies  near  her  studio.  She 
was  also  interested  in  depicting 
potential  movement— which 
she  interpreted,  metaphorically, 
to  mean  that  her  subjects 
had  the  capability  to  move  up 
the  social  ladder.  Bishop 
considered  her  drawings  and 
etchings  preparatory  studies  for 
her  meticulous  paintings,  of 
which  she  produced  only  a  few- 
each  year  during  her  career. 

Lucile  Blanch 

Lucile  Blanch  was  born 
in  Hawley,  Minnesota,  in  1895 
and  studied  first  at  the 
Minneapolis  School  of  Art, 
and  then,  in  1918,  at  the 
Art  Students  League  under 
Kenneth  Hayes  Miller.  Shortly- 
after  marrying  the  artist  Arnold 
Blanch  in  1922,  she  moved 
to  Woodstock,  New  York, 
where  she  was  active  in  local 
exhibitions  as  well  as  with 


Isabel  Bishop,  Conversation,  1931,  etching 


the  New  York  Society  ol 
Women  Artists  and  the 
Whitney  Studio  Club.  For 
most  of  the  1920s  and  1930s, 
Blanch's  subjects  consisted 
of  circus  themes,  flowers,  and 
landscapes.  She  participated 
in  numerous  Whitney  Annuals 
and  Biennials  between  1925 
and  1944. 

Minna  Wright  Citron 

Born  in  1896,  Minna  Wright 
Citron  began  her  studies  in 
1924  with  a  course  in  painting 
at  the  Brooklyn  Institute  of 
Arts  and  Sciences.  She  next 
enrolled  at  the  New  York 
School  of  Applied  Design  for 
Women  and,  in  1928,  at 
the  Art  Students  League  to 
study  with  Kenneth  Hayes 
Miller.  Like  other  14th  Street 
artists,  she  produced 
many  images  of  the  denizens 
of  Union  Square— sometimes 
satirical  in  tone  but  always 
socially  conscious.  She 
made  a  number  of  lithographs 
in  the  1930s,  some  under 
the  auspices  of  the  Federal  Arts 
Project.  Her  interest  in  etching 
developed  under  the  direction 
of  Stanley  William  Hayter 


at  his  Atelier  17  in  the  1940s. 
Citron  exhibited  in  Whitney 
Museum  Annuals  and 
Biennials  sporadically  from 
1938  to  1955. 

I  ncillc  C'nrcoN 

Lucille  Corcos  studied  with 
Jan  Matulka  at  the  Art  Students 
League.  Although  her  fellow 
students— Irene  Rice  Pereira, 
Dorothy  Dchncr,  David 
Smith,  and  her  future  husband, 
Edgar  Levy— later  became 
involved  in  Surrealist  abstract 
art,  Corcos  remained  grounded 
in  a  stylized  realism  that 
delineates  the  humor  in  every- 
day urban  life.  During  the  early 
1930s,  she  received  a  variety 
of  commissions  from  Vanity 
Fair,  Vogue,  and  Cosmopolitan, 
sophisticated  magazines 
that  found  her  combination 
of  deliberate  naivete  and 
abstraction  appealing.  Aside 
from  her  commercial  work, 
Corcos  produced  paintings  that 
were  included  in  a  number  of 
museum  exhibitions,  among 
them  several  Whitney  Annuals 
from  1936  to  1954. 

Elsie  Driggs 

Elsie  Driggs  was  born  in 
Hartford,  Connecticut,  in  1898. 
From  1919  to  1925,  she  studied 
at  the  Art  Students  League 
with  George  Luks,  Robert 
Henri,  and  Maurice  Sterne,  the 
latter  having  the  greatest 
influence  on  her  work.  She 
spent  fourteen  months  in  Italy- 
beginning  in  late  1922,  where 
she  created  her  first  mature 
work,  Chou,  a  study  of  an 
Italian  cabbage;  the  work  was 
extremely  well  received 
in  a  group  exhibition  at  the 
Daniel  Gallery  in  1924.  Driggs 
began  to  show  regularly  at 
the  Daniel  Gallery  and  in  1928 
had  a  one-artist  show  there. 
A  member  of  the  Whitney 


Studio  Club,  she  was  also 
included  in  the  Museum's  first 
Biennial.  In  the  late  1920s, 
she  was  described  as  one  of 
the  "New  Classicists,"  along 
with  Charles  Demuth  and 
Charles  Sheeler.  Driggs'  work 
turned  more  abstract  as  she 
began  to  embrace  the  age  of 
machinery.  Her  urban  industrial 
scenes,  with  their  rhythnin 
flow  of  smokestacks,  pipes,  and 
crisscrossing  wires,  dictated 
a  style  of  work  now  associated 
with  the  Precisionists. 
Pittsburgh,  perhaps  her  most 
famous  image,  is  a  classic 
example  of  this  style. 

Caroline  Durieux 

Born  in  New  Orleans  in  1896, 
Durieux  studied  design  and  art 
education  at  Tulane  University 
and  the  Pennsylvania  Academy 
of  the  Fine  Arts.  In  1921,  she 
married  Pierre  Durieux  and 
moved  to  Cuba,  where 
they  resided  for  six  years  before 
moving  to  Mexico  City. 
It  was  here  that  Durieux  was 
persuaded  by  Diego  Rivera 
and  Howard  Cook  to  try 
lithography.  Through  Weyhe 
Gallery  director  Carl  Zigrosser, 
she  met  master  printers 
Dario  Mejia  and,  later,  George 
Miller  in  New  York,  who 
taught  her  the  techniques  of 
lithography.  Her  first  set 
of  twelve  prints,  the  Mexico 
Series,  was  issued  in  1932  in 
Mexico  and  exhibited  at  the 
Weyhe  Gallery  in  1934. 
Durieux  began  an  avid  period 
of  printmaking  in  which 
she  recorded  the  sanctimonious 
attitudes  of  the  bourgeoisie 
through  various  visual 
techniques  and  playful  jabs. 
Returning  to  New  Orleans 
in  1936,  she  directed  the 
Louisiana  branch  of  the  Federal 
Arts  Project  and  taught  at 
Tulane  University.  While 
in  Mexico,  Durieux  gained  the 
respect  of  Mexican  muralists, 
Jose  Orozco,  David  Siqueiros, 
and  Diego  Rivera,  who  praised 


liei  "subtli-  social  <  hronn  les ." 
Her  lithographs  differ  from 
contemporaries  Peggy  Bacon 

and  Mabel  Dwight  in  that 
they  rely  on  line  rather  than 
tonal  value.  Her  characters 
tend  not  to  be  specific  people, 
but  do  convey  the  demeanors 
ol  <lass-conscious  citizens 
Mexicans,  North  Americans, 
and  Creoles  alike.  Durieux 
exhibited  at  the  Whitney  in 
1936  and  1942. 


Mabel  »\\  ighl 

Born  in  1876  in  Cincinnati, 
Dwight  began  her  artistic 
training  at  San  Francisco's  Mark 
Hopkins  Institute  of  Art  about 
1896.  She  moved  to  New  York 
City  in  1903  and  settled  in 
an  apartment  on  Washington 
Square.  It  is  believed  that 
Dwight  intended  to  pursue 
work  as  an  illustrator,  as  her 
name  appears  in  the  American 
Art  Annual  from  1903  to  1906 
as  a  painter  and  illustrator. 
In  1906  she  married  the  painter 
and  etcher  Eugene  Higgins. 
It  proved  to  be  an  unsuccessful 
marriage,  and  during  the 
ensuing  fourteen  years  there  is 
little  indication  of  Dwight 
producing  art.  After  her 
separation  from  Higgins  in 
1918,  she  became  the  Whitney 
Studio  Club's  first  secretary- 
receptionist.  Three  years  later, 
she  first  appears  in  the 
American  Art  Annual  as  Mabel 
Dwight,  which  differs  from 
her  maiden  name,  Mabel 
Williamson;  this  change 
of  name  was  never  explained. 

In  reporting  on  a  group  show 
at  the  Studio  Club  in  1926, 
77ie  New  York  Times  reviewer 
noted  that  her  "pictures  of  the 
subway  showed  a  sense  of 
humor  and  a  gift  for  caricature. " 
Dwight  moved  to  Paris  in  late 
1926  and  spent  a  year  making 

9 


lithographs  at  Edouard 
Duchatel's  shop.  She  sent 
proofs  of  her  experimental 
lithographs  to  Carl  Zigrosser  in 
New  York  for  his  critique. 
After  her  return  to  New  York, 
Zigrosser  set  Dwight  up  with 
the  master  printer  George 
Miller.  She  had  her  first  one- 
artist  exhibition  at  the  Weyhe 
Gallery  in  1928  and  enjoyed 
a  prolific  twelve-year  print- 
making  career,  depicting  the 
experiences  of  ordinary 
Americans.  In  1936,  Prints 
magazine  named  Dwight  one 
of  the  best  living  American 
printmalcers. 

Nary  Fife 

Mary  Fife  was  born  in  1904  in 
Canton,  Ohio,  and  attended 
several  schools,  including 
Carnegie-Mellon  University, 
Cooper  Union,  the  Art 
Students  League,  the  National 
Academy  of  Design,  the 
Ac  ademie  Russc  in  Paris,  and 
the  Accademia  di  Belle  Arli 
in  Rome.  In  1935,  her  painting 
Lovers  on  a  Stoop  caused  a 
scandal  as  one  of  several 
so-called  "dirty  pictures"  at 
tl«'  "46lh  Annual  Exhibition 
of  American  Paintings  and 
Sculpture"  at  The  Art  Institute 
of  Chicago.  One  critic 
described  her  work  as  "current 
ravishment  in  terms  of  the  back 
porch."  Fife  exhibited  in  the 
\X  hilney  Biennial  in  1936  and 
Annuals  of  1937  and  1940. 


Handa  Gag 

Wanda  Gag  was  born  in  New 
Ulm,  Minnesota,  in  1893. 
A  scholarship  made  it  possible 
for  Gag  to  attend  the  St.  Paul 
School  of  Art  and,  later, 
the  Minneapolis  School  of  Art. 
Accepted  at  the  Art  Students 
League  in  1917,  Gag  took  classes 


10 


with  Kenneth  Hayes  Miller, 
Robert  Henri,  and  Mahonri 
Young.  She  used  the  income 
from  a  variety  of  commercial  art 
assignments,  ranging  from 
decorating  lampshades  to 
designing  advertisements  and 
illustration  to  finance  her 
training  and  expenses.  In  1923, 
the  New  York  Public  Library 
gave  Gag  her  first  one-artist 
exhibition,  which  included 
nineteen  drawings  and  twenty- 
one  illustrations  for  children. 
.Around  1923,  she  began  using 
sandpaper  plates  for  her 
prints  -a  method  that  enabled 
her  to  mimic  the  rough 
texture  of  a  stone,  minus  the 
<  uinhcrsome  weight.  Carl 
Zigrosser  accepted  nineteen 
of  her  drawings  on  consignment 
at  the  Weyhe  ( iallery  in  1925, 
and  she  went  on  to  have  several 
exhibitions  there.  In  1928, 
she  published  what  is  perhaps 

known  children's 
book.  Millions  of  Cats.  Gag 
continued  producing  and 
illustrating  books  throughout 
the  1930s.  She  found  her  best 
subject  matter  in  household 
interiors,  trees,  and  ordinary 
objects.  The  interrelation 
of  these  forms  and  their 
surrounding  spaces  were  of 
great  importance  to  Gag. 
Her  "crazy  interiors,"  as  she 
referred  to  them,  often  appear 
quirky,  if  not  electric,  and 
resemble  the  stylized  manner 
of  Van  Gogh. 

Eugenie  Gershov 

Eugenie  Gershov,  born  in 
Russia  in  1905,  trained  at  the 
Art  Students  League  with 
A.  Sterling  Calder,  Boardman 
Robinson,  and  Kenneth  Hayes 
Miller  between  1921  and 
1922.  She  was  a  member 
of  the  Woodstock  art  colony, 
in  addition  to  painting,  she 
experimented  with  stone, 
plaster,  and  papier-mache. 
Gershoy  exhibited  continually 
in  Whitney  Annuals  and 
Biennials  between  1928  and 
1941. 


Anne  Gwldlhwaile 

Anne  Goldthwaite.  born  in 
Montgomery,  Alabama  in 
1869,  studied  at  the  National 
Academy  of  Design  in  New 
York.  After  1905,  she 
completed  her  studies  in  Paris. 
Returning  to  New  York  in 
1913,  she  participated  in 
the  Armory  Show  and  joined 
the  teaching  staff  of  the  Art 
Students  League  in  1922, 
where  she  continued  to  teach 
until  just  before  her  death 
in  1944.  Goldthwaite  mastered 
the  te<  hnique  of  lithography  at 
the  League;  graphically,  her 
prints  reveal  a  combination 
of  her  New  York  training  and 
Parisian  exposure  to  Post- 
Impressionism.  Her  images  are 
both  spontaneous  and  carefully 
structured.  She  is  perhaps 
best  known  (or  her  portrait 
work     compositions  of  women 
and  children  who  were  often 
friends  and  acquaintances. 
Goldthwaite  spent  her  summers 


Mary  Fife,  Lovers  on  a  Stoop,  1936,  lithograph 


in  Montgomery,  and  her  work 
began  to  reflect  her  vibrant 
interpretation  ol  African- 
American  life  and  the  land- 
scape of  the  South.  She 
exhibited  in  the  Studio  Club 
and  Museum's  Annuals  as  well 
as  Museum  exhibitions  such 
as  "Twentieth-Century  New- 
York  in  Paintings  &  Prints" 
in  1933  and  "Self-Portraits 
by  Living  American  Artists" 
in  1934. 


Victoria  Ebbels 

Hutson  Huntley,  Rural  Free  Delivery,  1931,  lithograph 

Kosi'lla  llartman 

Rosella  Hartman  was  born 
in  1894.  In  1930  she  was  one  of 
three  artists  shown  in  an 
exhibition  at  the  Whitney 
Studio  Galleries.  A  critic  noted 
that  her  pastels  displayed 
a  brisk,  bright  coloration  but 
urged  her  to  pursue  a  broader 
and  more  monumental 
rendering  in  her  drawings  of 
plant  forms.  She  exhibited  her 
lithographs  of  plant  and  animal 
subjects  at  the  exhibitions 
organized  by  the  American 
Print  Makers  in  the  mid-1930s. 


•l«»N<'|»Uiu«'   \i\  iv.ni 
Hopper 

By  the  time  of  her  marriage  to 
Edward  Hopper  in  1924, 
Josephine  Nivison  was 
established  as  an  artist.  Her 
drawings  had  been  published 
in  The  Masses  and  in  other 
periodicals  and  newspapers, 
and  her  paintings  and 
watcrcolors  were  included  in 
exhibitions  at  the  Daniel 
Gallery,  the  New  Gallery,  and 
other  New  York  galleries  and  in 
several  juried  exhibitions  at 
New  York  museums.  Born  in 
New  York  in  1882,  Jo  Hopper 
studied  with  Robert  Henri 
and  Kenneth  Hayes  Miller 
at  the  New  York  School  of  Art 
and  spent  summers  at  various 
artist  colonies  in  New 
England— Provincetown, 
Martha's  Vineyard,  Ogunquit, 
and  Gloucester.  Images 
of  children  and  humanitarian 
themes  dominated  her  early 
work  and  she  was  known 
for  her  studies  of  cats.  Still  lifes 
and  interiors  were  mainstays 
of  her  later  imagery.  She  also 
worked  beside  Edward  in 
watercolor  and  oils  on  their 
sketching  trips. 

Victoria  Ebbels 
Unison  Huntlev 

Born  in  1900,  Victoria  Ebbels 
Hutson  Huntley  grew  up  in 
New  York  City.  At  the  age  of 
twelve,  she  enrolled  at  the  Art 
Students  League,  where  she 
studied  with  John  Sloan,  Max 
Weber,  George  Luks,  and 
Kenneth  Hayes  Miller.  Carl 
Zigrosser  urged  her,  as  he  did 
many  others,  to  try  lithography. 
With  George  Miller  as  her 
printer,  Huntley  proved  to  be  a 
quick  success— her  second 
lithograph  received  the 
prestigious  Logan  Prize  at 
The  Art  Institute  of  Chicago  in 
1930.  Lithography  became  her 
favorite  graphic  medium:  "The 
stone  provides  a  miraculous 
instrument  on  which  the  artist 
can  play  a  full  orchestration  of 
subtle  notes,  ranging  from 


(  obweb  grays  to  massive 
blacks."  I  luntley  had  hei  first 
i  tist  show  at  the  Weyhe 
Gallery  in  1930  and  exhibited 
at  the  Whitney  Studio  Club 
and  in  the  Museum's  .Annuals 
and  Biennials  from  1928  to 
1941.  She  favored  depictions  of 

the  American  industrial 
landscape,  often  using  it  as  a 
metaphor  lor  a  lailed  American 
dream.  Huntley's  bewitching 
and  sometimes  doleful  images 
show  a  talent  for  exploiting 
the  rich  textures  of  litho  crayon 
and  tusche  washes  on  the 
surface  of  the  stone. 


Georgina  Klitgaard 

Georgina  Klitgaard,  born 
in  Spuyten  Duyvil,  New  York, 
in  1893,  studied  at  Barnard 
College  and  the  National 
Academy  of  Design.  A  painter 
and  etcher,  she  painted  several 
murals  for  post  offices  in 
New  York  and  Georgia  while 
working  lor  the  Federal  Arts 
Project.  A  member  of  the 
Audubon  Artists  and  the 
American  Society  of  Painters, 
Sculptors,  and  Gravers, 
Klitgaard  was  active  in  the 
Studio  Club.  Her  work 
was  included  in  Whitney- 
Annuals  and  Biennials  from 
1927  to  1944. 


Barbara  Latham 

Barbara  Latham  was  born  in 
Walpole,  Massachusetts, 
in  1896  and  studied  at  Pratt 
Institute  in  Brooklyn  and  with 
Andrew  Dasburg  and  Charles 
Rosen  at  the  Art  Students 
League.  She  is  best  known 
for  her  images  of  New  Mexico, 
where  she  lived  with  her 
husband,  the  American  print- 
maker  and  muralist,  Howard 
Cook.  Latham  worked  in  a 


11 


variety  of  media,  but  produced 
a  significant  body  of  wood 
engravings.  She  derived  many 
of  her  subjects  from  the 
Hispanic  culture  of  northern 
New  Mexico  and  favored  a 
slightly  stylized  mode  of 
realism.  She  exhibited  in  the 
Whitney  Annuals  of  1940 
and  1941. 


Itlanche  Lazzell 

Painter,  printmaker,  and 
designer,  Blanch  Lazzcll  was 
born  in  Maidsville,  West 
\  irginia,  in  1878.  She  studied 
art  and  art  history  before  she 
enrolled  111  the  Art  Students 
League  in  1908,  where  she 
worked  under  William  Mcrritt 
Chase.  In  1912  she  went 
to  Paris;  this  introduction  lo 
modernist  art  would  lead  her 
to  study  Cubism  under  Fernand 
Leger  and  Albert  Glcizes 
in  the  early  1920s.  Shortly  alter 
1912.  Lazzell  began  spending 
her  summers  among  a  growing 
community  of  artists  111 
Provmcetown,  Massachusetts— 
a  colony  lo  which  she  remained 
diligently  devoted  throughout 
her  life.  It  was  in  Provmcetown 
that  Lazzell,  among  other 
artists,  pioneered  the  white- 
line  woodblock  printing  method, 
a  technique  that  she  used  to 
create  more  than  130  block 
prints.  Lazzell  became  a 
committed  abstractionist  and, 
in  1925,  created  some  of  the 
earliest  non-objective  prints  in 
America.  She  exhibited  at  the 
Whitney  in  1942  in  the  show 
"Between  Two  Wars:  Prints  by 
American  Artists  1914-1942." 

Nan  Lurie 

Nan  Lurie  was  born  in  New 
York  in  1910  and  studied 
painting  at  the  Art  Students 
League  with  Yasuo  Kuniyoshi 


12 


and  Kenneth  Hayes  Miller. 
Like  many  younger  artists  in 
the  1930s,  she  was  active  in  the 
political  and  social  programs 
of  the  American  Artists 
Congress.  Lurie  was  employed 
by  the  Graphics  Division 
of  the  Federal  Arts  Project, 
creating  lithographs  that  were 
overt  in  their  social  and 
political  overtones.  Her  work 
then  became  increasingly- 
abstract,  delineating  the 
unconscious  thoughts  and  fears 
of  her  human  subjects.  Lurie 
exhibited  in  the  1938  Whitney 
Annual. 

Claire  Mahl  >luorp 

A  native  New  Yorker,  Claire 
Mahl  Moore  was  born  in  1917. 
She  studied  with  1  Iarry 
\\  ickey,  ( Charles  Locke,  and 
Thomas  Hart  Benton  at  the 
Art  Students  League.  At 
the  suggestion  of  Jackson 
Pollock,  a  fellow  student  at  the 
League,  she  spent  a  year 
working  in  David  Siqueiros 
New  York  workshop,  where  she 
in  ouraged  to  experiment. 
Moore  was  feistily  independent 
in  her  ideas;  her  prints  made 
for  the  Federal  Arts  Project  and 
those  privately  printed  by  Will 
Barnet  at  the  League  expressed 
her  beliefs  in  women's  rights 
and  social  reform  through 
an  abstracted  realist  vocabulary. 

K.vra  >larkhain 

K)  ra  \larkham  was  born 
in  Chicago  in  1891  and  studied 
drawing  for  a  number  of 
years  at  The  Art  Institute  of 
Chicago,  while  simultaneously 
pursuing  an  acting  career. 
To  support  herself  during  the 
1920s,  she  made  illustrations 
for  book  jackets  and  painted 
murals  in  restaurants  and 
houses.  In  1930  she  resumed 
her  art  training  at  the  Art 
Students  League  and  four  years 
later  began  making  lithographs. 
Her  images,  varying  from 


Social  Realism  to  Surrealism, 
are  characterized  by  a  dramatic 
handling  of  light  and  shadow 
that  (not  coincidentally) 
gives  her  spaces  a  slagelike 
appearance.  Markham 
pari  11  ipated  in  the  Federal  Arts 
Project  starting  in  1936  and 
exhibited  in  the  Whitney's 
Annuals  and  Biennials  regularly 
from  1938  to  1941. 


\lic«>  Trumbull  >lason 

Born  in  Litihlield, 
Connecticut,  in  1904,  Al 
Trumbull  Mason  began 
her  studies  at  the  National 
Academy  of  Design  in  1923. 
An  early  champion  of 
non-objective  art  in  the  1930s, 
she  was  a  founding  member  of 
the  American  Abstract  Artists. 
In  addition  to  studying  with 
Arshile  Gorky  in  the  late  1930s, 
she  encountered  Wassily 
Kandinsky's  Murnau  landscapes, 
which  may  have  influenced  the 
biomorphic  qualities  of  her 
work  at  this  time.  Mason  was 
one  of  the  few  artists  exhibiting 
completely  abstract  work  in  the 
Museum's  1938  Annual. 

Minnie  Luis  Murphy 

A  Kansas  native,  born  in  1901, 
Murphy  came  to  New  York 
to  study  at  the  Art  Students 
League  with  Boardman 
Robinson  and  George  Grosz. 
As  a  painter,  she  favored  the 
hills,  farms,  and  villages  of  the 
Catskills.  She  was  also  an 
illustrator.  While  employed  by 
the  Graphics  Division  of  the 
Federal  Arts  Project,  Murphy 
created  fourteen  woodcuts  and 
wood  engravings  that  show 
an  illustrator's  eye  in  delineating 
the  details  of  the  city  and  its 
people. 


Andree  Ruellan,  Girl  Reading,  1928,  graphite 


Caroline  Speare 
Rohland 

Rohland  was  a  student  of  John 
Sloan  and  Kenneth  Hayes 
Miller  at  the  Art  Students 
League  and  a  member 
of  the  Studio  Club.  In  her  large 
pastels  of  city  restaurants, 
theater  interiors,  and  other 
urban  pleasures,  she  combined 
the  contemporary,  factual  style 
of  her  teachers  with  a  sensuality 
of  surface  found  in  the  pastels 
of  Degas  and  Toulouse- 
Lautrec.  In  the  1930s,  her 
pastels  of  rural  Southern  blacks 
gained  a  monumentally 
associated  with  the  Mexican 
muralist  tradition,  while  her 
lithographs  of  the  rural  South, 
New  Orleans,  and  Harlem 
were  infused  with  the  humor 
and  the  inflection  of  the 
indigenous  spiritual  and 
of  jazz.  Rohland's  work  was 
included  in  the  Museum's 
Annuals  and  Biennials  from 
the  1930s  to  1942. 


Iloris  Rosenthal 

Well  known  for  her  Regionalist 
works  depicting  Mexican  life, 
Doris  Rosenthal  was  born  in 
Riverside,  California,  in  1893. 
She  studied  at  Columbia 
University  and  later,  with  John 
Sloan  and  George  Bellows 
at  the  Art  Students  League, 
1918-19.  Rosenthal  was  in 
Europe  from  1920  to  1921. 
Throughout  the  1920s 
she  illustrated  books  on  birds 
and  flowers.  With  her  first 
Guggenheim  Fellowship 
in  1932,  she  was  able  to  study  in 
Mexico,  a  country  and  people 
she  came  to  love.  Rosenthal's 
experience  in  Mexico  was 
a  major  influence  on  her  later 
work.  She  exhibited  at  the 
Whitney's  Annuals  and 
Biennials  regularly  from  1925 
to  1946. 

Andree  Ruellan 

Andree  Ruellan  was  born  in 
New  York  City  in  1905.  At  the 
young  age  of  eight,  she  began  a 
two-year  tutelage  under  the 
direction  of  family  friend  and 
amateur  artist  Ben  Liber. 
In  1914,  her  illustration  April 
was  reproduced  in  77ie  Masses. 
Ruellan  accepted  a  scholarship 
to  the  Art  Students  League  and 
in  her  second  year  met  the 
painter  and  sculptor  Maurice 
Sterne,  whom  she  found  to  be 
"very  inspiring  as  a  teacher." 
Soon  after,  Sterne  opened 
a  school  in  Rome  and  offered 
her  a  scholarship  to  attend. 
She  left  for  Rome  in  October 
1922,  and  the  following  May 
left  for  what  became  a  five-year 
soujourn  in  Paris. 

Adolf  Dehn,  an  artist  and 
friend  she  met  in  Paris, 
introduced  Ruellan  to  Weyhe 
Gallery  director  Carl  Zigrosser. 
This  resulted  in  three  shows  at 
the  gallery;  the  first  in  1928 
was  to  secure  her  reputation 
in  New  York.  Ruellan  became 
associated  with  the  art 
community  of  Woodstock, 
New  York,  where  she  met  John 
(Jack)  Taylor  who  became  her 
husband  in  1929.  The  mid- 


thirtiet  found  Ruellan  involved 
in  American  Regionalist  art, 
and  a  trip  to  Charleston,  South 
Carolina,  provided  her  with  a 
\  .ii  »  !\  of  rich  cultural  subjrc  ts, 
including  the  daily  life  of 
African- Americans.  In  addition 
to  drawing  and  painting, 
Ruellan  made  lithographs,  a 
skill  she  acquired  through 
the  master  printer  Edmond 
Desjobert  in  Paris  in  1931. 
She  exhibited  in  "Self-Portraits 
by  Living  American  Artists" 
at  the  Whitney  in  1934.  Juliana 
Force  and  Gertrude  Vanderbilt 
Whitney's  interest  in  both 
realism  and  modernism 
proved  to  be  a  near-perfect 
match  with  Ruellan's  mode  of 
representation. 

Katherine  Sehmidl 

Born  in  Xenia,  Ohio,  in  1898, 
Katherine  Schmidt  began  her 
studies  at  the  Art  Students 
League  in  1916,  where  Kenneth 
Hayes  Miller  became  her  most 
influential  mentor.  Schmidt 
married  the  artist  Yasuo 
Kuniyoshi,  a  fellow  student 
at  the  League.  In  the  1920s  and 
1930s,  her  work  centered  on 
the  human  figure,  landscapes, 
and  still  life.  In  the  middle 
and  late  1930s,  it  manifested 
her  concern  for  the  unemployed 
and  the  homeless— her 
thematic  response  to  the 
Depression.  Schmidt  was  one 
of  the  earliest  members  of  the 
Whitney  Studio  Club  and 
submitted  work  to  a  majority 
of  the  members'  Annual 
Exhibitions.  Her  first  one-artist 
show  was  mounted  at  the 
Studio  in  1923.  At  one  point, 
Juliana  Force  asked  her  to  run 
the  gallery;  Schmidt  declined 
and  instead  organized  the 
evening  sketch  class  for  two 
years.  After  an  extended 
trip  abroad,  Schmidt  realized 

13 


that  Europe  was  not  for  her. 
Her  quirky,  memorable  quote 
about  the  difference  in  artist i< 
cultures  summed  up  her 
feelings:  "There's  been  a 
cleavage,  I  think,  between  the 
French  influence  and  American 
corn.  And  I  certainly  belong 
to  American  corn." 

Agnes  Tait 

Born  in  New  York  in  1894, 
Agnes  Tait  began  studies  at  the 
National  Academy  of  Design 
at  the  age  of  fourteen.  Spending 
the  majority  of  the  1920s 
pursing  a  dual  career  as  a 
painter  and  dancer,  she  publicly 
showed  her  work  at  the 
Dudensing  Galleries.  She  also 
made  lithographs  with  George 
Miller  in  the  late  1920s.  For 
her  paintings,  she  favored 
landscapes,  cats,  and  people  as 
subjects,  and  at  various  times 
worked  as  a  muralist,  dec  orator, 
and  book  illustrator,  lint 
exhibited  in  the  Whitney's 
Annuals  regularly  from  1920  to 
1928.  She  traveled  extensively 
to  places  .is  exotic  as  lnnidad 
and  I  )ominira,  and  a  portion 
of  her  work  reflects  these 
experiences  through  images 
of  native  peoples.  In  1941,  Tait 
settled  in  Santa  Fe. 

Ilornthy  Yarian 

Dorothy  Varian  was  born  in 
New  York  in  1895.  She  studied 
at  the  Art  Students  League  and 
accumulated  enough  money 
from  various  prizes  to  finance  a 
summer  in  Woodstock,  New 
York.  Later,  generous  relatives 
made  it  possible  for  her  to  go  to 
Europe,  where  she  had  her  first 
show  at  the  famous  Durand- 
Ruel  Galleries  in  Paris.  Varian's 
fascination  with  color  became 
central  to  her  compositions,  as 
evidenced  by  her  innumerable 
gradations  of  color  in  a  single 

14 


landscape.  She  exhibited 
regularly  in  the  Whitneys 
Annuals  and  Biennials  from 
1920  to  1940. 

Gertrude  Vanderhill 
Hhilne> 

Born  into  one  ol  America's 
richest  families  in  1875, 
Gertrude  Vandcrbilt  Whitney 
was  able  to  pursue  a  double 
life,  as  both  artist  and  art 
patron.  She  began  her  career  as 
a  sculptor  at  a  time  when  she- 
was  dissatisfied  with  both  her 
marriage  and  her  life  in  general. 
She  was  privatel]  tutored 
by  Hendrik  C.  Anderson  and 
James  Earle  Fraser.  She  also 
studied  at  the  Art  Students 

lie  and,  later,  in  Paris  with 
.Andrew  O'Connor.  \\  hilney 
used  a  pseudonym  beginning 
in  1901,  after  receiving  skeptic  a] 
critiques  from  both  public  and 
private  quarters. 

By  1910,  she  began  exhibiting 
under  her  own  name  when 
her  statue  Paganism  Immortal 
won  a  distinguished  rating 
ai  tin-  National  Academy. 
Mrs.  Whitney's  early  style  was 

semi-decorative,  but  with 
the  outbreak  of  World  War  I 
she  began  making  tributes  and 
monuments  to  the  cause.  In 
1914.  she  memorialized  the  loss 
of  her  brother  at  sea  with  her 
Titanic  Memorial.  Two 
of  her  best-known  sculptures 
are  the  St.  Nazaire  Monument 
(1924)  in  France,  and  the 
Columbus  Monument  (1928- 
29)  at  the  port  of  Palos,  Spain; 
the  former  a  monument  to 
the  first  contingent  of  American 
troops  that  landed  at  St. 
Nazaire  and  the  latter  a  tribute 
to  the  great  navigator  himself. 
Mrs.  Whitney  received  many 
commissions  during  her  career, 
and  after  World  War  I  her 
name  began  to  appear  in  rosters 
of  the  era's  outstanding 
women— a  public  tribute  to 
her  artistic  talent. 


Marguerite  /-uraeh 

Born  in  Santa  Rosa,  California, 
in  1887,  Zorach  visited  Paris 
in  1908  at  the  invitation  of  her 
aunt.  At  the  Salon  d'Automne 
that  year,  she  first  encountered 
I'auvism.  She  spent  the  next 
four  years  in  Paris,  meeting 
influential  people  like  ( iertrude 
Stein  and  Pablo  Picasso  and 
studying  at  La  Palette,  an 
ail  s<  hool  managed  by  Scottish 
artist  John  Duncan  Fergusson, 
It  was  also  here  that  she  met 
her  husband,  William  /.orach, 
and  became  involved  with  a 
group  of  artists  who  called 
themselves  Post-Impress i 
concentrating  on  the  formal 
|.i  in.  iples  ol  color,  light, 
and  shape  rather  ihan  on 
representation.  In  1911,  Zorach 
was  united  to  exhibit  at 
the  Salon  d'Automne  and  the 
Salon  of  the  So(  u'-te  <les 
Artistes  Independants  in  Paris. 
Moving  back  to  America  in 
1912,  the  Zorachs  settled 
in  New  York  and  spent  their 
summers  in  New  England. 
After  exhibiting  in  the  New 
York  Armory  Show  of  1913, 
Zorach,  as  well  as  her  husband, 
were  firmly  established  in  New 
York's  avant-garde  cir<  les. 
While  closely  involved  with  the 
practice  and  study  of  Cubism, 
she  maintained  an  interest 
in  nature,  often  painting  New 
England's  landscapes  and 
the  human  figure.  Although 
needlework  was  Zorachs 
prime  medium  in  the  late  teens, 
she  also  worked  in  watercolor 
and  occasionally  produced 
prints.  She  had  an  extremely 
prolific  career  and  exhibited 
at  the  Whitney  in  Annuals  and 
Biennials  from  1932  to  1952. 


: 


Gertrude  Vanderbilt 

Whitney,  Despair,  1912,  stone 


Prints 


A  Checklist  of  Work; 


in  the  Exhibition  _,  ...    ...     ,, 

Dimensions  are  in  inches,  followed  by  centimeters; 

height  precedes  width. 

All  works  are  in  the  Permanent  Collection  of 

the  Whitney  Museum  of  American  Art 


Ida  A  bo  I  man 

(b.  1910) 

WONDERS  OF  OUR  TIME,  1937 

Lithograph  sheet,  16  x  23  5/8 
(40.6  x  60);  image,  11  9/16  x 
15  1/8  (29.4  x  38.4) 
Purchase,  with  funds  Irom  the 
Print  Committee  93.80 


Peggv  Baron 

(1895- 

DANCE  AT  THE  LEAGUE, 

1919  (first  state) 

Drypomt:  plate,  6  7/8x9  3/8 

(17  5  x  23  8) 

Gilt  of  Bunty  and  Tom 

Armstrong  97.42 

FRENZIED  EFFORT  (THE 
WHITNEY  STUDIO  CLUB),  1925 

Drypomt:  sheet,  9  x  11 
(22.9  x  27.9),  plate,  5  13/16  x 
9  (14.8  x  22.9) 
Gift  of  Gertrude  Vanderbilt 
Whitney  31.596 

LADY  ARTIST,  1925 

Drypomt:  sheet,  12  7/16  x  9  11/16 
(316  x  24.6),  plate,  6  x  4  1/16 
(15  2  x  10.3) 

Purchase,  with  funds  from 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  9668.2 

HELP!   1927 

Drypoint:  sheet,  15  1/2  x  11 15/16 

(39.4  x  30.3),  plate.  9  15/16  x 

7  7/8  (25  2  x  20) 

Purchase  31.593 

HEYWOOD  BROUN,  1930 

Lithograph  sheet,  16  x  20  1/4 
(40.6  x  51.4);  image,  11  x 
15  5/16  (27  9  x  38  9) 
Purchase  31594 


AESTHETIC  PLEASURE.  1932 

Lithograph:  sheet,  13  3/8  x 
18  1/2  (34  x  47);  image,  9  3/4  x 
15  1/4  (24.8  x  38.7) 
Purchase  32  84 

THE  ARDENT  BOWLERS,  1932 

Drypomt:  sheet,  11  3/8  x 
18  5/8  (28  9  x  47.3);  plate, 
6x1315/16(15.2x35.4) 
Purchase  3285 

THE  SOCIAL  GRACES    1935 

Drypoint;  sheet,  14  1/4  x 
10  (36.2  x  25.4),  plate, 
10  15/16  x  7  7/16  (27  8  x  18.9) 
Purchase  3642 

PLEADING  FOR  THE 
OPPRESSED,  C    1936 
Drypo.nl  sheet,  12  3/8  x  21 1/16 
(31 4  x  53.5);  plate,  6  15/16  x 
15  7/8  (176  x  40.3) 
Purchase  38  24 


Virginia  Berresford 

(1904-1995) 

CITY  WATERFRONT,  1933 

Monotype:  sheet,  7  ■ 
10  3/4  (19.7  x  27.3);  .mage, 
6  x  9  1/16  (15.2  x  23) 
Purchase,  with  funds  from  the 
Print  Committee  94.116 


Pamela  Bianco 

(1906-1994) 

DECEMBER    C    1921 

Lithograph  sheet,  14  3/8  x 
9  11/16  (37.2  x  26.9);  image, 
117/16x6  7/8(25 
9791 


ZINNIAS,  1927 

Lithograph:  sheet,  14  3/8  x 
9  11/16  (36  5  x  24.6),  image, 
11  7/16  x  6  7/8  (29.1  x  17  5) 
Gift  of  Gertrude  Vanderbilt 
Whitney  31.606 


Isabel  Bishop 

(1902-1988) 

IN  FRONT  OF  42ND  STREET 
LIBRARY    1925 

Etching:  sheet,  7  1/4  x  10  3/4 
(18.4  x  27.3);  plate,  3  x  4 
(7.6  x  10.2) 

Purchase,  with  funds  from 
the  John  I.H.  Baur  Purchase 
Fund,  the  Grace  Belt  Endowed 
Purchase  Fund  and 
Katherine  Schmidt  Shubert 
Purchase  Fund  89.33.3 

LOOKING  OVER  WALL    1927 

Etching:  sheet,  61/2x4  3/16 
-  10.6);  plate,  3  15/16  x 
3  (10  x  7.6) 

Purchase,  with  funds  from 
the  John  I.H  Baur  Purchase 
Fund,  the  Grace  Belt  Endowed 
Purchase  Fund  and  the 
Katherine  Schmidt  Shubert 
Purchase  Fund  89.33 .5 

AT  THE  BASE  OF  THE  FLAG- 
POLE (IDLE  CONVERSATION), 

1928 

Etching;  sheet,  8  1/2  x  11  (21.6  x 
27.9),  plate,  5  x  6  (12.7  x  15  2) 
Purchase  32.87 

A  YOUTH  (touch),  1928 

Etching:  sheet,  10  3/4  x  7  1/4 

(27.3  x  18.4);  plate,  6x4 

(15.2x10  2) 

Felicia  Meyer  Marsh  Bequest 

80.31.119 


LOOKING  OVER  THE  WALL 

1928 

Etching:  sheet,  10  5/16  x  7  3/16 
(26.2  x  18.3),  plate,  5  7/8  x 
4  (14  9  x  10.2) 
Purchase,  with  funds  from 
the  John  I.H.  Baur  Purchase 
Fund,  the  Grace  Belt  Endowed 
Purchase  Fund  and  the 
Katherine  Schmidt  Shubert 
Purchase  Fund  89.33.4 

MAN  STANDING    1929 

Etching:  sheet,  7  13/16  x  6  1/2 
(19  8  x  16.5);  plate,  5  13/16  x 
4  (14.8  x  10.2) 
Purchase,  with  funds  from 
the  John  I.H.  Baur  Purchase 

:ne  Grace  Belt  Endowed 
Purchase  Fund  and  the 
Katherine  Schmidt  Schubert 
Purchase  Fund   89.33.9 

UNION  SQUARE  MAN    1929 

Etching:  sheet,  11  7/16  x  7  15/16 
(29 1  x  20.2);  plate,  3  15/16  x 
2  15/16  (10  x  7.5) 
Purchase,  with  funds  from 
the  John  I.H.  Baur  Purchase 

Pk>e  Grace  Belt  Endowed 
Purchase  Fund  and  the 
Katherine  Schmidt  Shubert 
Purchase  Fund  89.33  13 

CONVERSATION,  1931 

ng:  sheet,  11  1/4  x  9  1/2 
(28.6  x  24.1),  plate,  5  15/16  x 
4(15.1x10  2) 

Felicia  Meyer  Marsh  Bequest 
80.31.142 


15 


Ida  Abelman,  Wonders  of 

Our  Time,  1937,  lithograph 


on  the  street 
(fourteenth  street),  1931 

ng:  sheet,  7  1/8  x 
14  15/16  (18.1  x  37.9);  plate, 
4  15/16  x  10  13/16  (12.5  x  27.5) 
Purchase  34.34 

READING  THE  NEWSPAPER 

1931 

Etching  sheet,  10  3/4  x  7  1/4 

(27.3  x  18.4);  plate,  6  15/16  x 

4  15/16  (17.6  x  12  5) 

Felicia  Meyer  Marsh  Bequest 

80.31.145 

SPECTATORS,  1933 

Etching:  sheet,  8  13/16  x  7  3/8 
(22.4  x  18.7);  plate,  6  15/ 
4  15/16  I 

Purchase,  with  (unds  Irom 
the  John  I.H.  Baur  Purchase 
Fund,  the  Grace  Belt  Endowed 
Purchase  Fund  and  the 
Kathenne  Schmidt  Shubert 
Purchase  Fund  8v 

NOON   HOUR    1935 

]  sheet,  9  7/8x8 
(25.1  x  20.3);  plate,  6  15/16  x 
4  13/16  (17.6  ■ 

Gift  ol  Mr.  and  Mrs.  Sylvan 
Cole,  Jr.   79.71 

OFFICE  GIRLS,  1938 

Etching:  sheet,  11  1/8  x  7  5/8 

(28.3  x  19.4),  plate,  8x5 

(20.3  x  12.7) 

Felicia  Meyer  Marsh  Bequest 

80.31.144 


16 


LUNCH  COUNTER,  1940 

•  7  3/4  (27.9  x 
19.7);  plate,  71/2x3  15/16 
(19  1  x  10) 

Felicia  Meyer  Marsh  Bequest 
80.31.143 

Minna  Cilron 

(1896-1991) 

LAYING  THE  BETS,  1937 

Lithograph,  sheet,  11  7/8  x 
15  15/16  (30.2  x  40.5);  image, 
8  15/16  x  11 1/8  (22.7  x  28.3) 
Purchase  3820 


Caroline  Durieux 

(1896-1989) 

DANCINC  WITH   VIGOR    1932 

Lithograph:  sheet,  13  1/2  x  9  1/2 
(34.3  x  24.1),  image,  8  1/4  x 

7  1/4  (21  x  18.4) 
Purchase,  with  funds  from 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  96.68.82 

ART  CLASS,  1939 

Lithograph:  sheet,  16  x  11  7/8 
(40.6  x  30.2);  image,  10  5/16  x 

8  3/8  (26.2  x  21.3) 
Purchase,  with  funds  from 
The  Lauder  Found  ; 
Leonard  and  Evelyn  Lauder 
Fund  96.68.83 

DINNER,  1939 

Lithograph:  sheet,  15  3/8  x 
12  (39.1  x  30  5);  image, 
10  5/16  x  8  3/8  (26.2  x  21.3) 
Purchase,  with  funds  from 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  96.68.84 


Mabel  Dwight 

(1876-1955) 

IN  THE  SUBWAY,  1927 

Lithograph:  sheet,  11  7/16  x  9 
(29.1  x  22  9);  image,  9  1/4  x 
7  1/4  (23.5  x  18.4) 
Purchase,  with  funds  from 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  96.68.85 

BROTHERS,  1928 

Lithograph:  sheet,  16  x  11  7/16 
(40.6  x  29.1);  image,  12  1/2  x 
9  13/16  (31.8  x  24  9) 
Gift  of  Gertrude  Vanderbilt 
Whitney  31.719 

DESERTED  MANSION,  1928 

Lithograph:  sheet,  15  7/8  x 
11 1/2  (40.3  x  29.2);  image, 
117/16x9  5/8(291x24.4) 
Purchase  32.6 

HOUSTON  STREET 
BURLESQUE,  1928 

Lithograph:  sheet,  16  x  11 1/4 
(40.6  x  28.6);  image,  9  3/4  x 
7  15/16  (24.8  x  20.2) 
Purchase,  with  funds  from 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  96.68.87 

MECHANO,  WONDER  OF  THE 
WORLD,  1928 

Color  lithograph:  sheet, 
16  x  11  3/8  (40.6  x  28.9);  image, 
12  5/16  x  9  5/16  (31.3  x  23  7) 
Gift  of  Gertrude  Vanderbilt 
Whitney  31.722 


HARLEM   RENT  PARTY    1929 

Lithograph:  sheet, 

11  1/4  x  13  3/8  (28.6  x  34); 

image,  10  1/4  x  11 15/16 

(26  x  30.3) 

Purchase,  with  funds  from 

The  Lauder  Foundation, 

Leonard  and  Evelyn  Lauder 

Fund  96.68.88 

FERRY  BOAT,  1930 

Lithograph:  sheet,  11  7/16  x 

15  7/8  (29.1  x  40.3);  image, 
9  1/4x101/8(23  5x25  7) 
Purchase,  with  funds  from 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  9668.89 

PAUL  ROBESON  AS  EMPEROR 

JONES.  1930 

Color  lithograph:  sheet,  23  x 

16  3/4  (58.4  x  42.5);  image, 

14  7/8  x  13  (37.8  x  33) 
Purchase,  with  funds  from 
the  Print  Committee  93.86 

LIFE  CLASS,  1931 

Lithograph:  sheet,  13  3/8  x 
18  (34  x  45.7);  image,  9  13/16  x 
13  1/2,  (24  9  x  34.3) 
Purchase  33.90 

ABSTRACT  THINKING,  1932 
iph:  sheet,  11  1/2  x 

15  15/16  (29.2  x  40.5);  image, 

9  5/8  x  10  5/16  (24  4  x  26  2) 
Purchase,  with  funds  from 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  96.68.91 

SELF-PORTRAIT,  1932 

Lithograph:  sheet,  15  15/16  x 
11  3/8  (40.5  x  28.9);  image, 

10  9/16  x  8  5/16,  (26.8  x  21.1) 
Purchase  32100 


Wanda  Gag,  Spring  in  the  Garden,  1927,  lithograph 


DANSE  MACABRE.  1933 

Lithograph:  sheet,  11  3/8  x 
15  13/16  (28.9  x  40.2),  image, 

9  7/16  x  13  5/8  (24  x  34.6) 
Purchase,  with  funds  Irom 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  96.68.92 

WHITE  MANSION,  1934 

Lithograph:  sheet,  13  5/16  x 
17  3/4(33.8x451),  image,  11  x 
15  15/16  (27.9  x  38  9) 
Purchase,  with  funds  from 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  96.6893 

MERCHANTS  OF  DEATH,  1935 

Lithograph:  sheet,  9  15/16  x 
14  3/8  (25.2  x  36.5),  image, 
8  1/16  x  13  (20.5  x  33) 
Purchase,  with  funds  from 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  96.68.94 

BURIED  TREASURE,  1939 

Lithograph:  sheet,  16  x  11 1/2 
(40  6  x  29.2);  image,  12  7/8  x 

10  3/16  (32,7  x  25.9) 
Purchase,  with  funds  from  the 
Print  Committee  94,119 


Mary  Fife 

(1904-1990) 

LOVERS  ON  A  STOOP,  1936 

Lithograph:  sheet,  15  3/8  x 

11  7/8  (39 1  x  30  2),  image, 

12  7/8  x  9  11/16  (32 7  x  24  6) 
Purchase,  with  funds  from 
the  Print  Committee  92  122 


Wanda  Gag 

(1893-1946) 

COUNTRY  ROAD,  1925 

Linoleum  cut:  sheet,  12  3/4  x 
9  15/16  (32  4  x  25  2).  image, 

12  x  9  3/16  (30.5  x  23  3) 
Purchase,  with  funds  from 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  96.68.103 

ELEVATED  STATION,  1926 

Lithograph,  sheet,  14  9/16  x 
17  3/16  (37  x  43.7);  image, 

13  3/8  x  16  in  (34  x  40  6) 
Gift  of  Gertrude  Vanderbilt 
Whitney  31731 

UPRIGHT  LANDSCAPE,  1926 

Sandpaper  lithograph:  sheet, 
19  1/4  x  14  3/4  (48  9  x  3 
image,  18  7/8  x  14  7/16 
(47  9x36  7) 

Purchase,  with  funds  from 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  96  68104 

SQUASH  AND  FLOWERS. 

1926-27 

Lithograph:  sheet,  11  13/16  x 

9  7/16  (30  x  24);  image, 

10  1/2  x  8  7/16  (26  7  x  21.4) 
Purchase,  with  funds  from 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  96.68105 

SPRING  IN  THE  GARDEN,  1927 

Lithograph:  sheet,  11  3/8  x 
13  3/4  (28.9  x  34.9);  image, 
9  7/8  x  13  (25.1  x  33) 
Purchase,  with  funds  from 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  96.68.108 


EVENING,  1928 

Lithograph:  sheet,  11  3/8  x 
15  7/8  (28.9  x  40.3);  image, 
8  1/8  x  11 15/16  (20.6  x  30  3) 
Purchase,  with  funds  from 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  96.68.111 

LAMPLIGHT,  1929 

Lithograph:  sheet,  13  1/2  x 
10  1/16  (34.3  x  25.6),  image, 
10  3/4  x  8  7/16  (27  3  x  21 
Purchase,  with  funds  from 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  9668115 

STONE  CRUSHER,  1929 

iraph:  sheet,  17  3/16  x 

13  1/2  (43.7  image, 

14  7/16  x  11 1/2  (36  7  x  29  2) 
Purchase,  with  funds  from 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  9668.113 

BACKYARD  CORNER,  1930 

Lithograph:  sheet,  16  x  22  3/4 
(40.6  x  57.8),  image,  10  3/8  x 
12  7/8  (26.4  x  32.7) 
Purchase,  with  funds  Irom 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  96.68.116 

LANTERN  AND  FIREPLACE, 

1931-33 

Wood  engraving,  sheet,  10  5/8 
x  8  1/4  (27  x  21);  image,  7  5/16 
x  5  3/8  (18.6  • 
Purchase,  with  funds  from 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  9668.119 


THE  FORGE,  1932 

Lithograph:  sheet,  13  3/4  x 
18  3/8  (34.9  x  46.7);  image, 
11 1/2  x  13  3/4  (29.2  x  34.9) 
Purchase  32103 

SNOW  DRIFTS,  1934 

Lithograph  sheet,  10  3/4  x 

8  5/16  (27  3  x  21.1);  .mage, 
91/4x6  15/16  (23  5  x  17.6) 
Purchase,  with  funds  from 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  96.68.120 

unci  e  Frank's  workshop 

1935 

Lithograph:  sheet,  16  x  11  3/8 

(40.6  x  28.9),  image,  12  15/16  x 

9  1/8  (32.9  x  23  2) 
Purchase,  with  funds  from 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  9668.121 


Eugenie  Gersho> 

(1905-1986) 

STREET  SCENE,  GRANADA, 

1932 

Lithograph,  printed  on 
chine  colle  sheet,  12  5/16  x 
17  9/16  (31.3  x  44.6),  image, 
7  15/16  x  10  (20  2  x  25  4) 
Purchase  32108 


17 


Victoria  Ebbels  Hutson  Huntley 

Lower  New  York,  1934,  lithograph 


Anne  Goldlhu  aite 

(1869-1944) 

HER  DAUGHTER,  C    1934 

Lithograph:  sheet,  16  x  11  5/8 
(40.6  x  29.5);  image,  10  7/16  x 

8  1/4  (26.5  > 

Purchase,  with  funds  from 
The  Lauder  Found  : 
Leonard  and  Evelyn  Lauder 
Fund  96.68141 

\  ieloria  K'bbels 
HuInoii  Huntley 

(1900-1971) 

RURAL  FREE  DELIVERY,  1931 

Lithograph:  sheet,  17  3/4  x 

12  15/16  (45 1  x  32.9);  image, 

13  7/16  x  9  15/16  (34  1  x  25  2) 
Purchase,  with  lunds  from 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  9668.159 

kopper's  coke,  1932 
Lithograph:  sheet,  12  3/4  x 
16  3/4  (32.4  x  42.5);  image, 

9  5/8  x  13  3/8  (24.4  x  34) 
Purchase  3394 

LOWER  NEW  YORK.  1934 

Lithograph:  sheet,  13  1/16  x 
18  1/8  (33  2  x  46),  image, 

10  1/8  x  13  11/16  (25.7  34.8) 
Purchase,  with  funds  from 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  96.68.161 


Barbara  Latham 

(1896-1988) 

NEGRO  GROUP,  1936 

Wood  engraving:  sheet, 
91/2x101/'  mage, 

7  5/8x8  7/8  (19.4  » 
Purchase,  with  funds  from 
The  Lauder  Found,: 
Leonard  and  Evelyn  Lauder 
Fund  96.68.196 

Vni   I  mil- 

PROMISED  LAND    1941-42 

Lithograph:  sheet,  16  x  23 
(40.6  x  58.4);  image,  11  7/16  x 
15  (29 1  x  38 1) 

Purchase,  with  funds  from  the 
Print  Committee  93.90 

<  l.i in-  >lahl  Moore 

1988) 

STREET  ACCIDENT,  C    1938 

Lithograph  sheet,  15  1/8  x 
20  9/16  (38.4  x  52.2);  image, 
13  3/16  x  16  (33.5  x  40.6) 
Gilt  of  Reba  and  Dave  H. 
Williams  94.91 


K.vra  llarkham 

(1891-1967) 

LOCKOUT,  1937 

Lithograph:  sheet,  12  1/4  x 
18  11/16  (31.1  x  47.5); 
image,  10  x  12  (25  4  x  30  5) 
Purchase  38.19 


Caroline  Jipeare 
Kohland 

(1885-1965) 

CONEY  ISLAND,  1928 

Lithograph:  sheet,  17  3/4  x 
14  (45.1  x  35.6);  image, 
16  1/8  x  12  3/8  (41  x  31 4) 
Purchase  32.116 

SUNDAY,  1929 

Lithograph:  sheet,  12  7/16  x 

age, 
10  5/8  x  14  13/16  (27  x  37.6) 
Purchase  32118 


lloi-is  It..-,  in  li.il 

SUMMER  BREEZES,  1930 

Lithograph:  sheet,  15  3/4  x 
11  3/8  (40  x  28.9);  image, 

16  x  9  7/8  (34.8  x  25.1) 
Doris  Rosenthal  Bequest 
74.140 

SUMMER  STUDIO,  1930 

Lithograph,  sheet,  11  5/16  x 

15  1/16  (28.7  x  38.3); 

image,  9  15/16  x  11  5/8 

(25.2  x  29.5) 

Doris  Rosenthal  Bequest 

74.137 

DEAD  GODS,  C    1932 

Lithograph:  sheet,  16  1/8  x 

20  (41  x  50.8);  image, 

11 15/16  x  15  13/16  (30.3  x  40.2) 

Doris  Rosenthal  Bequest 

74.135 


Indree  Itiii'll.ni 

(b.  1905) 

CITY  MARKET,  CHARLESTON, 

1936 

Lithograph-  sheet,  11 1/2  x  16 
(29  2  x  40.6);  image,  8  7/8  x 
12  7/8  (22.5  x  32.7) 
Purchase,  with  funds  from 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  96.68242 


Agnes  Tail 

^62) 

DOMINIQUE,  1937 

Lithograph:  sheet,  11  7/8  x 
15  15/16  (30.2  x  40.5),  image, 
9  15/16  x  13  (25.2  x  33) 
Purchase,  with  funds  from 
The  Lauder  Foundation, 
Leonard  and  Evelyn  Lauder 
Fund  9668.300 


Marguerite  Zoraeh 

(1887-1968) 

BOATS  AT  DOCK,  1927 

Lithograph  sheet,  22  1/2  x 
16  (57.2  x  40.6);  image, 
72  (35  6  x  34.3) 
Gift  of  Gertrude  Vanderbilt 
Whitney  31.944 

WOMAN  AND  CAT,  1930 

Lithograph:  sheet  and  image, 
14  1/4  x  19  3/16  (36.2  x  48.7) 
Gift  of  the  artist's  children 
71.159 


18 


Pamela  Bianco,  Ivy  Berries,  c.  1919, 
nk,  paper,  and  graphite 


Drawings 


Peggy  Bacon 

(1895-1 

BLESSED  DAMOZEL,  1925 

Graphite  on  paper,  18  x  14  5/8 
(457  x  37.1) 

Gift  of  Gertrude  Vanderbilt 
Whitney  31.481 

MOTHER  AND  CHILD,  C    1927 

Graphite  on  paper,  15  3/4  x 
9  (40  x  22.9) 

Gift  of  Gertrude  Vanderbilt 
Whitney  31482 

MARSDEN  HARTLEY,  C.  1931 

Graphite  on  paper,  10  1/4  x 
7  9/16(26x19.2) 
Purchase,  with  lunds  from  the 
Grace  Belt  Endowed  Purchase 
Fund  88.3 

GEORGIA  O'KEEFFE,  1934 

Charcoal  on  paper,  18  5/8  x 
15  7/8  (47.3  x  40.3) 
Gift  ol  Bunty  and  Tom 
Armstrong  86.38 

JULIANA  FORCE,  1934 

Charcoal  on  paper,  16  3/4  x 
13  7/8  (42.5  x  35.2) 
Purchase,  with  funds  from 
Mr.  and  Mrs.  Joshua  A  Gollin 
74.84 

FIORELLO  LA  CUARDIA,  C    1934 

Charcoal  on  paper,  15  5/8  x 
131/2  (39.7x34  3) 
Purchase,  with  funds  from  the 
Drawing  Committee  84.45 

LLOYD  GOODRICH,  C    1934 

Graphite  on  paper,  13  3/8  x 
9  11/16  (34  x  24.6) 
Purchase,  with  funds  from  the 
Grace  Belt  Endowed  Purchase 
Fund  88.2 


THE  UNTILLED  FIELD,  1937 

Pastel  on  pink  paper,  19  1/8  x 
25  1/4  (48.6  x  64.1) 
Gift  of  Mr.  and  Mrs.  Albert 
Hackett  52.29 


Virginia  Berresford 

(1904-1995) 

THE  WAVE,  1938 

Watercolor  on  paper,  14  1/4  x 
21  (36.2  x  53  3) 
Purchase  39.26 


Pamela  Bianco 

(1906-1994) 

IVY  BERRIES,  C    1919 

Ink,  paper,  and  graphite  on 
paper,  8  7/8  x  10  1/2 
(22.5  x  26.7) 

Gilt  of  Gertrude  Vanderbilt 
Whitney  31.497 

TULIPS,  c.  1921 

Ink  on  paper,  15  3/4  x  11 1/4 

(40  x  28.6) 

31.498 


Isabel  Bishop 

(1902-1988) 

WAITING,  1935 

Ink  on  paper,  7  1/8  x  6 
(18.1  x  15.2) 
Purchase  36.31 


Lucile  Blanch 

(1895-1981) 

CIRCUS  ANGELS,  1928 

Charcoal,  ink,  and 
pastel  on  paper,  16  3/8  x 
16  7/8  (41.6  x  42.9) 
31.394 


clowns,  1928 
Charcoal,  ink,  and  pastel 
on  paper,  14  7/8  x  21 15/16 
(37.8  x  55.7) 
31.395 

LADY  WITH   MONKEYS,  1928 

Charcoal,  ink,  and  pastel 
on  paper,  19  1/4  x  16  7/8 
(48.9  x  42.9) 
31.399 

TWO  RIDERS  ON  A  WHITE 
HORSE,  1928 

Pastel  and  ink  on  paper, 
20  1/8  x  16  13/16  (51.1  x  42  7) 
31.405 


Lucille  Corcos 

(1908-1973) 

AFTERNOON  AT  THE  ZOO 

1937 

Gouache  on  paper,  11  1/8  x 
15  1/2  (28.3  x  39.4) 
Purchase  38.14 


Elsie  Briggs 

(1898-1992) 

IMAGES  OF  PITTSBURGH,  1927 

Graphite  on  paper,  12  x  13  3/8 

(30.5  x  34) 

50th  Anniversary  Gift  of 

Mr.  and  Mrs.  Julian  Foss  80.6.4 

STUDY  FOR  "BLAST  FURNACE", 

1927 

Graphite  on  paper,  12  x 

18  (30.5  x  45.7) 

50th  Anniversary  Gilt  of 

Mr  and  Mrs  Julian  Foss  80.6.2 

STUDY  FOR  "PITTSBURGH ', 

1927 

Graphite  on  paper,  12  x  14  1/2 

(30.5  x  36.8) 

50th  Anniversary  Gift  of 

Mr  and  Mrs  Julian  Foss  80.6.3 


Eugenie  Cershoy 

(1905-1986) 

FISHINC  BOATS  AT 
GLOUCESTER,  1929 

Pastel  on  paper,  15  3/4  x  13 
(40  x  33) 

Gift  of  Gertrude  Vanderbilt 
ney  31.958 

MARKET,  GRANADA,  1932 

Ink  on  paper,  13  11/16  x  18  1/16 

(34.8x45.9) 

Purchase  32.37 


Bosella  llartman 

(b.  1894) 

TIGER  LILIES,  1928 

Crayon  on  paper,  16  7/8  x 
18  1/2  (42.9  x  47) 
Gift  of  Gertrude  Vand< 
Whitney   31.547 

LANDSCAPE,  1930 

Ink  on  paper,  15  5/8  x  19  3/4 
(39.7  x  50.2) 
Purchase  31.592 


Josephine  IMivison 
Hopper 

(1882-1968) 

EDWARD  HOPPER  AT  HIS 
EASEL,  C    1930 

Watercolor  on  paper,  19  1/2  x 
13  3/4  (49.6  x  34.9) 
Bequest  of  Josephine  N. 
Hopper 


19 


Katherine  Schmidt,  Quince  in  Bowl 
1925,  graphite  and  watercolor 


Sculpture 


Georgina  Klilgaard 

(1893-1976) 

DAHLIAS  IN  VASE,  1928 

Watercolor  on  paper,  19  3/4  x 

Gift  of  Gertrude  Vandt ■■ 
Whitm 

ICE  HOUSE,  NANTUCKET,  1930 

Watercolor  on  paper, 
13  1/2  x  19  3/4  (34.3  x  5( 
31.444 


ICI.iim  In-   I  ;i//<ll 
UNTITLED         1925 

e  on  paper,  10  5/8  x 
8  1/4  (27 

Gift  of  Martin  and  Harnette 
Diamond  92.61 

UNTITLED,  C    1925 

e  on  paper,  10  5/8  x 
7x21) 

Martin  and  Harnette 
Diamond  92.62 

UNTITLED,  C    1925 

Graphite  on  paper,  10  5/8  x 

.  ?  x  21) 
Gift  of  Martin  and  H 
Diamond  92.64 

UNTITLED,  C    1925 

Graphite  on  paper,  10  5/8  x 
8  1/4  (27  x  21) 
Gift  of  Martin  and  Harnette 
Diamond  9265 


20 


\li<-«-  Trumbull  Mason 

19    ■ 

STUDY  FOR  "FREE  WHITE 
SPACING",  1939 

■on  paper,  8  1/2  x 
,  and  Wolf  Kahn 

DRAWING  FOR  UNKNOWN 

PAINT1NC    c    1939 

Purchas  I  .  from 

The  Greylock  Foundatio 


Minnie  Lois  !>lurphv 

bernham's  barn,  1927 
Watercolor  on  paper,  14 
33) 


Caroline  Spearo 

Itolil.linl 

COTTON  PICKERS,  1939 

Pastel  on  paper,  24  x  18  1/2 
Purchase  41 


Andree  Ruellan 

)5) 

BOY   IN  ARMCHAIR,  1928 

Graphite  on  paper,  16  3/8  x 
10  1/8  (41.6  x  . 
Purchase  31.572 

GIRL  READING,  1928 

Graphite  on  paper,  16  3/8  x 
10  1/8  (41.6  x  25.7) 
Purchase  31.573 


THE  VAGRANT,  '939 

Charcoal  on  pape> 
11  3/8  (38.7  x  28.9) 
Purchase  4140 


Halherino  Kchmidl 

(1898-1978) 

QUINCE  IN  BOWL 

Graphite  and  watercolor 
on  paper,  9  x  13  (22 


Dorothy  Varian 

(1895- 

WILLOW  FARM 

aper,  15  x  22 
Purchase    ■ 


Marguerite  Zorach 

JESSIE  BENDER,  1913 

Gouache  on  paper,  10  1/8  x 

8  (25.7  x  20.3) 

Gift  of  the  artist's  children 

71.157 

Till   VISITOR,  1913 
Gouache  on  paper,  11  x  8  1/2 
(27.9  x  21.6) 

Gift  of  the  artist's  cl 
71156 

white  mountain 

Landscape,  Number  1, 1915 

Watercolor  on  paper,  10 

15(267x3 

Gift  of  the  artist's  cl 

71.158 


Gertrude  Vanderbilt 
Whitney 

DESPAIH 

Stone,  9  3/4  x  10  1/4  x  8 
(24.8  x  26  ■ 

il  Gertrude  Vande •' 
Whitney  31.80 

HEAD  FOR  TITAN1I 
Ml  MORIAI     '922 

Marble  on  marble  base, 
18  15/16  x  8  x  9  3/8 
(48.1  x  20.3  x  23.8)  overall 
Gift  of  Gertrude  Vanderbilt 
31.81 

MOTHER    \M)  CHILD    1935 

Marble,  34  131/2 

■4.3) 
Gift  of  Mrs.  G.  Macculloch 
Miller  54.41 


A  Preliminary  List  of  Women  Members 

of  the  Whitney  Studio  Club 


This  list  is  derived  from  a  typed 
list  headed  "Charter  Members  of 
the  W  hitney  Studio  Club,"  found 
in  the  Museum's  archives. 
The  list  has  been  corrected  and 
also  supplemented  with  additional 
names  found  in  the  catalogues  of 
the  Club's  annual  membership 
exhibitions.  Exhibition  catalogues 
on  the  Whitney  Studio  Club 
and  its  members  have  also  been 
consulted,  as  has  Avis  Bermans 
Rebels  on  Eighth  Street: 
Juliana  Force  and  the  Whitney 
Museum  "I  American  Art 
(New  York:  Atheneum.  1990). 

It  was  not  always  possible  to 
determine  the  life  dates  of  a  member; 
in  some  cases,  either  the  date  of 
birth  or  death  is  missing.  The 
Museum  would  appreciate 
receiving  additional  information 
or  corrections,  since  this  list  is 
still  in  progress. 

-D.W.K. 


Anderson,  Tennessee  Mitchell 

(1874-1929) 
Andrews,  Sara  H. 
Ault,  Beatrice  Hoffman 


Bacon,  Peggy 
(1895-1987) 

Bahnc,  Salcia 
(b.  1898) 

Barnwell,  Mary  C. 

Bell,  Enid  Diack 
(b.  1904) 


Bernstein,  Eva 

(1871-1958) 
Bernstein,  Theresa  Ferber 

(b.  1896) 
Bianco,  Pamela 

(1906-1994) 
Bishop,  Isabel  F. 

(1902-1988) 
Blanch,  Lucile 

(1895-1981) 
Blum,  Lucile  (also  as  Leslie)  Swan 
Boyce,  Ruth 
Brockman,  Ann 

(1899-1943) 
Brown,  Gladys 
Brown,  Sonia  F.  Gordon 

(b.  1894) 
Buller,  Cecil 

(1886-1973) 
Burroughs,  Betty 

(1899-1988) 
Burroughs,  Molly  Luce 

(see  Luce,  Molly) 
Bush-Brown,  Lydia 

(b.  1887) 
Byard,  Dorothy  Randolph 

(1885-1974) 


Cafarelli,  Michele  A. 

(1889-1969) 
Campbell,  Alice  Fraser 

(b.  1908) 
Cantine,  Josephine  Arosemena 

(b.  1893) 
Carroll,  Michalena  LeFrere 
Catlow,  Edith 
Chaplin,  Christine 
Chase,  Elizabeth  J. 

(b.  1901) 
Clark,  Elizabeth 
Clark,  Rose 
Clifton,  Evelyn  Travers 
Collin,  Jenny  Petria 
Conant,  Marion 
Conant,  Marjorie 

(b.  1885) 
Coughlin,  Mildred  Marion 

(b.  1895) 


Cox,  Helen  Morton 

(b.  1869) 
Craig,  Martha  Ycre 

(see  Ycre) 
Crisp,  Mary  Ellen 

(j>.  1896) 


Davis,  Helen  Stuart  Foulkes 

(1869-1965) 
Dick,  Gladys  Roosevelt 

(1889-1926) 
Dresser,  Aileen  King 

(b.  1890) 
Driggs,  Elsie  E. 

(1898-1992) 
Drucklieb.Jean 
Dryden,  Helen 

(b.  1887) 
Dwight,  Mabel 

(1876-1955) 


Ellis,  Orpha  V. 
Evans,  Grace  French 

(also  listed  as  Mrs.  Harry  Evans) 


Fulda,  Elizabeth  Rungius 
(1879-1967) 


Fair,  Consuelo 
Farrell,  Ruth  Clements 
Feigin,  Dorothy  Lubell 

(see  Lubell) 
Fick,  Etta 
Fiero,  Emilie  (also  as  Emily) 

Louise 

(1889-1974) 
Force,  Juliana  Rieser 

(1876-1948) 
Ford,  Lauren 

(1891-1973) 
Frank,  Bena  Virginia 

(b.  1900) 
Frazier,  Susan  A. 

(b.  1900) 
Fry,  Sherry  Edmundson 

(1879-1966) 


Gershoy,  Eugenie 

(1905-1986) 
Gerstle,  Miriam  Alice 

(b.  1898) 
Gibson,  Lydia 

(b.  1891) 
Glackens,  Edith  Dimock 

(1876-1955) 
Goldthwaite,  Anne  Wilson 

(1869-1944) 
Gordon-Brown,  Sonia  F. 

(see  Brown,  Sonia) 
Grandin,  Elizabeth 
Granger,  Caroline  Gibbons 

(b.  1889) 
Greenbaum,  Dorothea  Schwarcz 

(see  Schwarcz) 
Greenleaf,  Viola 
Greenman,  Frances  Cranmer 

(also  listed  as  Mrs.  John  W. 

Greenman) 

(1890-1981) 
Grosvenor,  Thelma  Cudlipp 

(b.  1892) 
Gurr,  Lena 

(b.  1897) 


Hale,  Dorothea 

(b.  1884) 
Halpert,  Edith  Gregor 

(1900-1970) 
Hambridge,  Miss 
Hamilton,  Helen 

(1889-1970) 
Hare.Jeanette  R. 

(b.  1898) 
Harkavy,  Minna  Rothenberg 

(1895- 1987) 
Hartman,  Rosella 

(b.  1894) 


21 


Haworth,  Edith  E. 

(also  listed  as  Harworth) 
Herrick,  Adelaide  J. 

(b.  1865) 
Herrick,  Margaret  A. 
Higgins,  Mabel 

(see  Dwight) 
Hopen,  Claire 
Hopper,  Josephine  Nivison 

(1882   1968) 
Howard,  Mrs.  Charles  Houghton 
Howard,  Lila  Wheelock 
Howard,  Lucille 
Howard,  Mrs.  Oscar  Frederick 
Howarth,  Edith  E. 

(see  Haworth) 
Howell,  Josephine  C. 
Howland,  Isabella 

(1895-1974) 
Hoyt,  Elizabeth 
Hubbell,  Katherine 
Hughes,  Edith  R. 
Hunt,  Dorothy 
Huntley,  Victoria  Ebbels  Hutson 

(1900  1971) 
Hutson,  Victoria  Ebbels 

(see  I  luntley) 


Janin,  Louise 
Jenkins,  Mrs.  A.  C. 
Jenkins,  Katherine  Gale 
Jenkins,  Kitty  Price 
Johann,  Madge 

(also  listed  as  Johan) 
Johnson,  Eleanor  Elfrida 
Johnson,  Grace  Mott 

(1882  1967) 
Jones,  Rebecca 
Jones,  Ruth 

(also  listed  as  Jonas) 

(b.  1906) 
Jordan,  Charlotte 


Karsner,  Esther  Eberson 

(see  Krasner) 
Katlow,  Edith 
Kennard,  Claire  Tison 
King,  Muriel 
Kissel,  Eleanora  Morgan 

(1891-1966) 
Klitgaard,  Georgina 

(1893-1976) 
Krasner,  Esther  Eberson 

(see  also  Karsner) 


Lawson,  Adelaide  J. 

(b.  1889'1900) 
Lawson,  Sara  Ann 
Leonard,  Mary  M 


22 


Lesper,  Vera  Beatrice 

(b.  1899) 
Linding,  Lillian  Spanuth 
Louderback,  Nelle  B. 
Lubell,  Dorothy  R. 

(1904-1969) 
Luce,  Molly 

(1896   1986) 
Lucius,  Florence  Gertrude 

(1902-1962) 


Prizer,  Tillie  Neville 
Putnam,  Grace  Storey 
Putnam,  Marion  Walton 
(see  Vialton) 


Maas,  Ernestine 
Maclntire,  Katherine 

(also  listed  as  Melntire) 

(b.  1880) 
Macomber,  Dorothy 
Manning,  H.  Rosalie 

(possibly  Hilda  Scudder 

Manning) 

(d.  1988) 
Margulies,  Pauline 

(b.  1895) 
Markham,  Marion  Esther 

(1875   1918) 
Melntire,  Katherine 

(see  Maclntire) 
McLeary,  Bonnie 
McNulty,  Ann  Brockman 

(see  Brockman) 
Melicov,  Dina 

(1905   1967) 
Messer,  (La Verne)  Teall 
Miller,  Flora  Whitney 

(1897  1986) 
Miller,  Hester 
Moran,  Marie 
Mungo-Park,  Eirene 
Murphy,  Cecil  Buller 

I  -niter) 
Musgrove,  Doris  Gabriel 
Musselman-Carr,  Myra  V. 

(b.  1880) 
Myers,  Ethel  Klink 

(1881    1960) 


Newking,  Nathalie  K. 

(1904  1954) 
Nivison,  Josephine 

(see  Hopper) 
Norris,  Marie  dejarnet 

(d.  c.1925) 


Peale,  Helen 

Peck,  Anne  Merriman 

(b.  1884) 
Peck,  Julia  E. 
Pelton,  Agnes 

(1881-1961) 
Phillips,  Grace  H. 
Plummer,  Ethel 

(d.  1936) 
Prahar,  Renee 

(1880-1963) 
Price,  Mary  Elizabeth 

(1875-1960) 
Prindeville,  Mary 

(also  as  Prindiville) 

(b.  1876) 


Rathbone,  Edith  P. 
Ravenscroft,  Ellen 

(1876    1949) 
Rector,  Anne 

Richards,  Gertrude  Lundborg 
Roberts,  Edith  Adeline 

(b.  1887) 
Robinson,  Mrs.  Boardman 
Robinson,  Mary  Turlay 

(b.  1888) 
Robinson,  Sally 
Rohland,  Caroline  Speare 

(1885   1965) 
Rosenthal,  Doris 

(1893-1971) 
Rother,  Maria 

(1897  c.  1957) 
Rowe,  M.  L.  Arrington  (Mrs.) 

(<1  1932) 
Ruellan,  Andree 

(b.  1905) 


Sahler,  Helen  Gertrude 

(1877-1950) 
Sangree,  Theodora 

(b.  1901) 
Sanxy,  Eleanor  E. 
Scaravaglione,  Concelta  Maria 

(1900   1975) 
Schmid,  Elsa 

(1897  1970) 
Schmidt,  Katherine 

(1898    1978) 
Schwab,  Eloisa 

(b.  1894) 
Schwarcz,  Dorothea  R. 

(1893    1986) 
Schwebel,  Celia 

(b.  1903) 
Shore,  Henrietta  Mary 

(1880   1963) 
Skou  (or  Schou),  Sigurd 

(d.  1929) 
Smith,  Patty  M. 
Spanuth,  Lillian 

(see  Linding) 
Spencer,  Betty  Lockett 
Stafford,  Dorothea  Taber 

(see  Taber) 
Stauffer,  Edna  Pennypacker 

(1887- 1956) 
Stevenson,  Beulah 

(1890-1965) 


Stock,  Molly  Luce 

(.sec  Luce) 
Stockman,  Helen  Park 

(b.  1896) 
Stohr,  Julie 

(b  1895) 
Stursburg,  Julie  H. 


Taber,  Dorothea 

(later  Mrs.  Stafford) 
Tail,  Agnes 

(1894   1981) 
Thayer,  Gladys 

(b.  1886) 
Thompson,  Edith  Blight 

(b  1884) 
Tice,  Clara 
Tiemer,  Gertrude 

(1897  1967) 
Till,  Anne  Hamilton 
Tompkins,  Corene  Cowdery 
Tower,  Flora  Whitney 

(see  Miller,  Flora) 
Townsend,  Ruth 
Tudor,  Rosamond 

(1878-1949) 
Tursburg,  Julie 


Varian,  Dorothy 

(1895    1985) 


Wallace,  Ethel  A. 

(c.  1885-1968) 
Walters,  Valerie 
Walton,  Marion 

(b.  1899) 
Watson,  Agnes  (Nan) 

(1876  1966) 
Watson,  Angele 
Wesselhoeft,  Mary  Fraser 

(1873   1971) 
Wessells,  Helen  E. 
Wheelock,  Lila  Audobon 
Whelan,  Blanche 
Whitney,  Gertrude  Vanderbilt 

(1875  1942) 
Whitney,  Isabel  Lydia 

(1884- 1962) 
Wilcox,  Lois 

(b.  1889/1902) 
Winstanley,  Evelyn 
Wintringham,  Frances  M. 

(b.  1884) 
Wright,  Cornelia  E. 


Yates,  Julie  Chamberlain  Nicholls 

(d.  1929) 
Ycre,  Martha  (Mrs.  Craig) 


Zorach,  Marguerite  Thompson 
(1887-1968) 


Women  Artists  Included  In  the  Annual/Biennial  Exhibitions 
Sponsored  by  the  Whitney  Museum  of  American  Art, 

1931-1941 


As  in  the  preceding  list  (p.  21),  the 
birth  and  death  dates  of  the  artists 
are  in  some  cases  incomplete. 
The  Museum  would  appreciate 
receiving  additional  information  or 
corrections  for  the  records. 

-D.W.K.. 


Abelman,  Ida 

(b.  1910) 
Adams,  Jean  Crawford 

(1884-1972) 
Aiken,  Mary  Hoover 

(b.  1907) 
Andrus,  Vera 

(1896-1979) 
Angel,  Rifka 

(1899 -c.  1986) 
Appel,  Marianne 

(b.  1913) 


Bacon,  Peggy 

(1895-1987) 
Bate,  Isabel 
Bernstein,  Theresa  Ferber 

(b.  1896) 
Berresford,  Virginia 

(1904-1995) 
Bischoff,  Use  Martha 

(b.  1903) 
Bishop,  Isabel  F. 

(1902-1988) 
Blanch,  Lucile 

(1895-1981) 
Brockman,  Ann 

(1899-1943) 
Brown,  Sonia  F.  Gordon 

(b.  1894) 
Bry,  Edith 

(1898-1991) 


Butler,  Audrey 
(1900-1985) 

Burroughs,  Betty 
(1899-1988) 


Cantine,  Josephine  Arosemena 

(b.  1893) 
Cary,  Page 

(b.  1904) 
Chapin,  Cornelia  Van  Auken 

(1895-1972) 
Citron,  Minna  Wright 

(1896-1991) 
Clark,  Rose 
Cooley,  Lydia 

(b.  1908) 
Corcos,  Lucille 

(1908   1973) 
Cramer,  Florence  Ballin 

(1884-1962) 
Cuming,  Beatrice  Lavis 

(1903-1975) 


Davis,  Gladys  Rockmore 

(1901-1991) 
Decker,  Alice 

(b.  1901) 
Dodds,  Peggy 

(b.  1900) 
Driggs,  Elsie  E. 

(1898-1992) 
Du  Bois,  Yvonne  Pene 

(b. 1913) 
Durieux,  Caroline 

(1896-1989) 
Dwight,  Mabel 

(1876-1955) 


Emerson,  Sybil  (Davis) 
Everett,  Roberta 

(b.  1911) 


Fife,  Mary  Elizabeth 
(1904-1990) 

Foy,  Frances  M. 
(1890-1963) 

Frazier,  Susan  A, 
(b.  1900) 


Gabriel,  Ada  Vorhaus 

(b.  1898) 
Gag,  Wanda 

(1893-1946) 
Gerald,  Elizabeth  Bart 

(b.  1907) 
Gershoy,  Eugenie 

(1905-1986) 
Gilbert,  Isolde  Therese 

(b.  1907) 
Glenny,  Anna 
Goetz,  Esther  Becker 

(1907-1971) 
Goldthwaite,  Anne  Wilson 

(1869-1944) 
Goodrich,  Gertrude 

(b.  1914) 
Gordon-Brown,  Sonia  F. 

(see  Brown) 
Greenbaum,  Dorothea  Schwarcz 

(1893-1986) 
Greenwood,  Marion 

(1909-1970) 


Harkavy,  Minna  Rothenberg 

(1895-1987) 
Hartman,  Rosella 

(b.  1894) 
Hoffman,  Malvina  Cornell 

(1887-1966) 


Hoover,  Mary 

(see  Aiken) 
Houston,  Nora 
Howard,  Loretta 

(b.  1904) 
Howland,  Isabella 

(1895-1974) 
Huntington,  Anna  Vaughn  Hyatt 

(1876-1973) 
Huntley,  Victoria  Ebbels  Hutson 

(1900-1971) 
Hutson,  Victoria  Ebbels 

(see  Huntley) 


Jenks,  Jo 

(b.  1903) 
Judson,  Sylvia  Shaw 

(1897-1978) 
Junkin,  Marion  Montague 

(1905-1977) 


Kane,  Margaret  Brassier 

(b.  1909) 
Kilham,  Aline 
Kissel,  Eleanora  Morgan 

(1891-1966) 
Kleinert,  Hermine  E. 

(1880    1943) 
Klitgaard,  Georgina 

(1893-1976) 
Knee,  Gina 

(1898-1982) 


Latham,  Barbara 
(1896-1988) 

Lee,  Doris  Emrick 
(1905-1983) 

Levy,  Josephine 

Luce,  Molly 
(1896-1986) 


23 


Doris  Rosenthal,  Summer 

Studio,  1930,  lithograph 


Lurie,  Nan 
(b.  1910) 

Lux,  Gwen 
(1).  1908) 


Margoulies,  Berta 

(b.  1907) 
Markham,  Kyra 

(1891    1967) 
Marsh,  Felicia  Meyer 

(see  Meyer) 
Mason,  Alice  Trumbull 

(1904    1971) 
McAuslan,  Helen 
McCall,  Virginia  Anmitage 

(b.  1906) 
Mecklem,  Hannah 
Melicov,  Dina 

(1905   1967) 
Meyer,  Felicia 

(1913-1978) 
Miller,  Harrielte  G. 

(1892-1971) 
Miller,  Helen  Pendleton 

(1888-1957) 
Morgan,  Frances  Mallory 
Moselsio,  Herta 


O'Keeffe,  Georgia 

(1887   1986) 


Newton,  Edith  Whittelsey 

(1878-1964) 
Nickerson,  Jennie  Ruth  Greacen 

(b.  1905) 
Nooney,  Ann 

(b.  1900) 
Nottingham,  Mary  Elizabeth 

(1907-1956) 


Peirce,  Alzira 

(b.  1908) 
Pereira,  Irene  Rice 

(1902    1971) 
Petrina,  Carlotta 

(b.  1901) 
Phillips,  Marjorie  Acker 

(1895-1985) 
Pollak,  Theresa 

(b.  1899) 
Prindeville,  Mary 

(also  listed  as  Prindinlle) 

(I.  1876) 
Putnam,  Marion  Walton  (see 

Walton) 


Reindel,  Edna 

(1900-1990) 
Rogers,  June 

(b.  1896) 

Rohland,  Caroline  Speare 

(1885-1965) 
Rosenthal,  Doris 

(1893-1971) 
Ruellan,  Andree 

(b.  1905) 
Ryan,  Sally 

(1916-1968) 
Ryerson,  Margery  Austen 

(1886-1989) 


Sarde 


.He 


(1899-1968) 
Scaravaglione,  Concetta  Maria 

(1900-1975) 
Schmidt,  Katherine 

(1898-1978) 


Schackelford,  Shelby 

(also  listed  as  Shackelford) 
(1901    1987) 

Shonnard,  Eugenie  F. 
(b.  1886) 

Shore,  Henrietta  Mary 

1963) 

Simpson,  Martha 

Smith,  Alice  Ravenel  Huger 

(1876   1958) 
Sparhawk-Jones,  Elizabeth 

(b.  1885) 
Stettheimer,  Florine 

(1871    1944) 


Whitney,  Gertrude  Vanderbilt 

(l«7.">    1942) 
Whitney,  Isabel  Lydia 

(1884   1962) 
Wickey,  Maria  Rother 

(1897  c.  1957) 
Williams,  Esther 

(b.  1901) 

Wingate,  Arline 

(b.  1906) 
Zorach,  Marguerite  Thompson 

0887-1968) 


Terrell,  Elizabeth 

(b.  1908) 
Thomas,  Lenore 

(b.  1909) 
Todd,  Anne  Ophelia 

(b.  1907) 


Van  Pappelendam,  Laura 
Varga,  Margit 

(I)  1908) 
Varian,  Dorothy 

(1895-1985) 


Walton,  Marion 

(b.  1899) 
Wasey,  Jane 

(b  1912) 
Watson,  Agnes  (Nan) 

(1876-1966) 
Weschler,  Anita 

(b.  1903) 


24 


• 


The  Whitney  Museum  of  American  Art  at  Champion 
is  funded  by  Champion  International  Corporation. 


Organized  by  David  W.  Kiehl,  curator,  prints, 

Whitney  Museum  of  American  Art 


One  Champion  Plaza, 

Atlantic  Street  at  Tresser 

Boulevard. 

Stamford,  Connecticut  06921 

(203)  358-7630 

Gallerv  Hours 

Tuesday- Salu  rday, 
11:00-5:00;  free  admission 

Gallery  Talks 

Tuesday,  Thursday,  Saturday, 
12:30;  Tours  by  appointment 


Design 

Barbara  Glauber  & 
Beverly  Joel  Heavy 

Printing 

Meridian  Printing 

Paper 

Champion  Carnival 

Photograph  credits: 
Geoffrey  Clements 


Cover  image: 

Caroline  Durieux.. Art  Class. 
1939.  lithograph 


Thclma  Golden 

Curator  and  Director  of 
Branches 

Eugenie  Tsai 

\ssociate  Curator  and  Curator 
of  Branches 

Cynthia  Roznoy 
Manager 

Jessica  Husted  Varner 
Gallery .  \ssislant  Public 
Programs 

Janice  H.  Romley 

Gallery .  \ssistant  Education 

Susan  Collier 

Saturday  Receptionist 


©  1997  Whitney  Museum  of  American  Art 

945  Madison  Avenue 
New  York.  New  York  10021 


I